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  1. Good point re: 1). Nevertheless, I think for me it would've improved things to see this referenced in Act II, in whatever way; as it was, it felt like a fairly relevant theme was pretty much dropped. As far as 2 is concerned, it may well have been done like that on purpose - but then whatever point was made by this passed me by. Marek was one of my favourite characters in Act I, and in Act II I lost most interest in him. For the overall plot to work, there was no need to reduce him to a more generic villain, so for me it was a net loss. Perhaps I'm missing something in terms of the game's themes, though - the way Mom and Dad change from one thing to another and the way Marek does, perhaps these are connected and can reflect on each other. What do people think?
  2. Just finished the game, and I'm torn between thinking it's a wonderfully charming adventure and being disappointed, mostly in terms of story and characterisation. I don't regret backing this for one second , but I have to admit that I kinda see where John Walker was coming from in his thoughts on the game, at least in 90% of all cases - though I disagree with the vehemence of what he wrote. Anyway, before I elaborate on what disappointed me most, I still want to say this: I enjoyed the game, I enjoyed playing it and finding out what happens next. The art is beautiful, as is the music - and I love how much affection Double Fine put into this. Having just finished the documentary too, I would very much want to Hug Attack each and everyone of you from over here in Switzerland. If you ever make your way here, I'd be happy to treat you to a glass of something and some of that gorgeous chocolate we have. :-) On to the more critical stuff, though... Obviously this is a matter of opinion, but I think it's a big shame how Marek is written in the second half of the game, for two reasons: 1) In Act 1 he seems cleverly set up as a version of Mom that is more palatable to teenaged Shay. His tasks aren't that different from hers, he's also making Shay do busywork at no personal risk to the boy, but he packages them in a narrative of danger, responsibility and "A man's gotta do what a man's gotta do, and that includes some hard decisions." Yet nothing ever comes of this parallel. 2) I find the Thrush underwritten anyway, and visually they're not particularly interesting. Wolf Marek is more mysterious, ambiguous and interesting than Marekai. Nevertheless, there's the interesting fact that other than the other Thrush he sees the appeal both in Shay and in Vella. He's intrigued by them and finds himself drawn to their personalities, where the rest of the Thrush see them at best as means to an end. IMO it would've been considerably more interesting to explore this side of him, to keep him ambivalent - is he a friend, is he a foe, is he undecided, and your actions may push him in either direction? Instead the story strips him of the things that made him fascinating and shows no interest in doing anything other with him than making him a disappointingly generic villain. What do others think?
  3. Thirith

    The Sacrifice

    I understand the explanations given for why the family doesn't seem more taken aback by what's happening, but for me this is one of the flaws in the game's writing/storytelling, both of which I generally like a lot. There's simply too much of a contrast for me between Vella's attitude and that of pretty much everyone else. If we'd seen more cracks in the veneer or her family's apparent happiness at her being chosen, if we'd got a feel that there's a full range of responses to the situation, I would have found it easier to buy into it - but as it is, Vella's rebelliousness seems to be motivated primarily by her being the main character, which isn't enough to make it fully credible or to make the others' consent in what's happening credible. I was wondering how this could have been improved for me, and in the end I think it could have been addressed e.g. with more hints that Vella's rejection of her culture's horrific tradition came from somewhere other than "Oh, well, she's a strong character", perhaps that it developed over time and was prompted by something other than her function in the story. Again, we have hints why she might have become a bit of a rebel (e.g. her grandfather), but I don't think this is presented as well as ideally it would've been.
  4. I've just completed my replay of Psychonauts. God, I'd forgotten so much: the sheer creativity, the wonderful humour, the characters, the voice work. And yes, just how annoying the Meat Circus was... ... but one of the things I liked best was the music. So many fantastic tunes, so well written and orchestrated. (Were some of the performances at least partly done on real instruments, or was it all synth?) I've got the soundtrack CD, but it's got one glaring omission: the quiet march of the Psychonauts that plays in Agent Cruller's lair, with its faintly sad longing for times long gone by. God, I love that tune. Sure, it's represented in a short version in the end credits, but it's not the same. What's your favourite music in Psychonauts? And what other game soundtracks do you like?
  5. Thanks a lot for the link! In the meantime I've realised that if the first savegame on the list has been corrupted, it doesn't register the others (for some odd reason) - but I could salvage another savegame by renaming it.
  6. I've recently started re-playing Psychonauts, and apart from somewhat annoying issues with my Xbox 360 controller (on PC) I still love it as much as the first time. However, after a BSOD in Lungfishopolis I found that my savegames had been corrupted. I was just about to get to the island with the transmitter tower, and BZZZT! Savegames corrupted. Bleh. Is there anyone here who could perhaps send me a savegame of theirs, either before or in Lungfishopolis? My squishy brain would be forever grateful. Cheers!
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