As I found myself circling a zombified grunt at the tutorial area of Elden Ring in order to perform the classic Souls backstab, I subconsciously knew right then and there what game I would be playing for the next 100+ hours, and not even that first sight of the ethereal Erdtree and its expansive surrounding landscape managed to swat away that sinking feeling.

"Dark Souls but open world" is a fairly justifiable tag line that Elden Ring earns with distinction for many, but it's one I interpret in a less charitable way. Considering how cruficied Bloodborne was over its optional chalice dungeon content, it's a bit surprising now to see a map filled with it deal with such little critical scrutiny by its fanbase, having an overreliance in copy pasted settings, bosses and mysteries that ends up homogenizing the experience of discovery and reward.

These issues are par for the course when dealing with the open world genre, and they would be acceptable had the space inbetween them provided any semblance of evolution on the Souls formula to acommodate the shift in scope. Double jumping horse aside, the unaltered Dark Souls moveset doesn't really offer compelling exploration outside of the small pockets of dungeon content, and when most of the interesting and unique content is relegated to the main story dungeons of the game, it's hard not to question if Elden Ring really needed to be open world in the first place.

The obssession with Dark Souls 3 boss design places you into a strict familiar pattern where stat and weapon experimentation are heavily punished, as most bosses have at least one "fuck you" move that one hit kills you for no reason, and weapon crafting insists on being a time consuming and expensive endeavor that forces you to hold onto the same high damage boring greatsword. It's telling that in a roster of 100+ bosses, Renalla, Radahn and Rykard are the only bosses I fondly remember, as they provide a challenge that goes beyond constant I-frame dodge rolling and memorizing fake out attacks.

And make no mistake, Elden Ring is Dark Souls 4, not just in the way it plays but also in the way it tells its story. Despite taking place in a different universe with new gods and lore to learn of and decipher, it has become evidently clear by now that Miyazaki and his team really have only one story to tell. Sure, it is still a fascinating story, but when I'm once again learning about secret crystal magic, beasts and dragons preceeding humanity, golden orders that are built upon lies, or chaotic forbidden flames that threathen the status quo, through the same obtuse and obfuscated dialogue and storytelling that defines these games, I struggle to find reason to engage with it with the same enthusiasm I once had for it.

Concepts like the Scarlet Rot or Destined Death are interesting enough to have had been the sole creative well to take from, but are forced to share the spotlight with the ever increasing and convoluted list of ideas Elden Ring has to offer that unnecessarily overcomplicate its world with a vast number of uninteresting factions, outer gods and characters that dont have the space to develop and enrich the universe of the game, robbing Elden Ring of the opportunity to create a laser focused experience like Bloodborne. Is Rykard's house of horrors that much different from every other castle you end up in Elden Ring? Or can we agree that the Dark Souls 3 formula has sanitized the world design of theses games to a point that they no longer have the capability to put you inside a world in the same manner Demon's Souls once could?

It's an odd thing to be this critical of Elden Ring, considering it still manages to be one of the most compelling triple A titles of recent years, with amazing creative art direction, original storytelling and engaging challenges to overcome, maintaining the strengths of the series that makes it stand out from everything else in the market, then and now. Conveying how threathening Caelid is by the mere act of the player walking into it represents some of the best environmental storytelling you will see, and the confidence to make so much of Elden Ring's content optional and secret turns the nonchalant reveal of a whole hidden area to explore beneath the overworld map one of the highlights of the series. It contains some of the best tragedy filled NPC questlines that characterizes the franchise, with Ranni's being a standout in the way it presents the most tradicional story arc in a Souls game and Diallos' being a noted highlight that feels like it could have come straight out of a GRRM book.

But at this point in time, 10+ year of Souls games, Elden Ring ironically and unintendely further reinforces metatextually the themes of stagnation and extending the life of something that has long gone past its prime. In his pursuit to perfect the Souls formula into his idealized game, Miyazaki has instead dilluted the small quirks, nuances and idiosyncrasies that made the series so groundbreaking and revolutionary all those years ago, and has fallen into a cycle of redundancy and iteration that has quickly trapped the series into a niche of comfort food. Sadly, Elden Ring is not the game we have all been waiting for that dispels the notion that open world is an inevitable flawed genre with diminishing returns, and it is also not the promise of the evolution the franchise has been desperately in need of. Maybe it is time to extinguish this flame and usher in a new age once and for all.

It's the beginning of autumn. I'm done configuring a fanmade PC port of The Legend of Zelda: Ocarina of Time. It's 2022. Four years. It's been almost over four years since I originally played this game, on my old 2DS system. I have many memories of experiencing OOT, whether it be from it's humble but impactful story, appealing atmosphere, masterful music, and most importantly, seeing if it held up to my expectations. For 20 years (at the time), it was, and still is, one of the most critically acclaimed and important video games of all time. I remember being drawn into the world and story of the game, and it quickly became an all time favorite for my younger self. It's an experience I held near and dear to my heart, and here we are again, four years later. Would the game still be as good as I remembered it four years ago? Or would it be where my memories failed me?
There's something awe inspiring about OOT's sheer polish for the first 3D game in the series. Link controls exactly how you expect him to, he has a handy arsenal of weapons, several means of fast travel the further you get through the game, and has now dawned one of his most iconic designs in the franchise. The land of Hyrule is interconnected brilliantly through many different shortcuts and pathways that tie the cohesion of this world together, it makes it feel like a real place. There's all of these dungeons, while not very difficult in the slightest, are designed so tightly and have a satisfaction to figuring out practically anything in them. Lastly, there's the combat. While simple in terms of control and enemy variety, it works excellently, having no clunk or questionable design choices. I feel that's a great way to describe this game- it all just works. I rarely felt like "what were they thinking???", because it's put together with so much competency.
Ocarina of Time, while not exactly a game that has gracefully aged graphically, puts a lot of effort into giving a heavy atmosphere and mood. Dungeons like the Forest and Shadow temple have so much weight to their feel, especially with the dark and grueling context to the Shadow Temple's history. The lost woods has such a feeling of magical whimsy and mystique with its emphasis on guidance of music and fog. The Final Boss is still one of the most visually impressive things the N64 has EVER pushed out, with the shadows interrupted by lightning to emphasize the horror of the opponent before you, the fate of Hyrule completely on your shoulders. It's immaculate.
The story of the game isn't exactly peak fiction or excruciatingly dense, but there's just something about it that leaves a profound feeling when it's over. Throughout my revisit, I was expecting some bit of emotion due to my past experiences and how time has changed me. I felt some chills here or there from a song in the game I remember loving, sure, but it took the ending to finally break me. A pedestal with the Master Sword, sitting profoundly as it can finally be put to rest for many, many, years. The bells ring as the curtain begins to close. This time, it broke me. The feeling of four years passing finally crushed me and I had to let it out. I cried. I cried for a solid minute. It made me completely shut down as I saw the ending come to a close. But when it was all over, I felt so much better. All that stress just melted away as I knew i had truly experienced something that I loved.
It's no surprise that The Legend of Zelda: Ocarina of Time is a game about growing up. The game taught me this well. I've grown a lot over four years, believe it or not. After Link turns away, leaving the Master Sword behind forever to further his own life, the life he deserved, it connected with me on a much greater level. I still have a lot of things to learn and grow from, but this game definitely reached out to me, and what I'm experiencing. It's simply amazing.

It's Ocarina of Time.

This game is some beautiful shit. Shoutouts to Takahashi for coping so fucking hard about xenogears for the past 20 years that he basically rehashes everything from that game into this one, makes it better, and delivers one of the most beautiful games of all time. The main theme of this game is powerful, the story itself is great even if it's not as complex as the others, and holy fuck is that main cast good. Whether I like Noah or Rex more idk or even care. I love this game with all my soul and I'm glad I was alive in a timeline where I was able to play it.

I was gonna write a review for this game, hell I already made a draft, but there’s just too much to cover and I hate how I write sooo I’ll just say that this game is an undisputed masterpiece. Despite its hiccups involving story progression and a roughly executed plot that doesn’t really give you the time to take anything in, it’s highs overcome the lows in such a way that makes it hard to give the game less than the highest score possible. The gameplay is phenomenal, the cast is the best in gaming, and the story is, well, perfect. Takahashi was playing 4D chess these last few years and ended up creating the best trilogy in gaming in the process.

It's not hard to see why people often call this a love-it-or-hate-it game, but I personally fall more in the love-it-and-hate-it camp.

God, where to even start. This is by far the most conflicted I have ever felt about any piece of fiction. Subarashiki Hibi, or SubaHibi for short, is an undeniably weird, beautiful, insane, unique, ambitious, fucked up, and, for some people at least, powerful narrative experience, albeit one that is bloated with overindulgent shock value, severe pacing issues, redundant dialogue, pointless fanservice, vastly inconsistent writing quality, moments of embarrassingly bad taste and just an overall tactless and heavy-handed treatment of sensitive issues like bullying, sexual violence and suicide.

And yet, in spite of SubaHibi’s large number of drawn-out, mind-numbing, nauseating low points, there is still a certain layer to SubaHibi that resonated strongly enough with me to push me through this near 60-hour mammoth. But before I can get to the positives, I first need to elaborate on my criticisms with it, because that's the first thing anyone needs to hear before deciding whether to plunge down this particular rabbit hole or not.

Firstly, I don't think my harsh criticisms of SubaHibi can be the swept under the rug on the grounds of this being just some sort of pulpy throwaway visual novel, as it very clearly begs to be taken seriously as an ambitious work of art, and hence I will judge it accordingly. Maybe some hardcore VN readers will praise SubaHibi for blending trashy eroge material with serious artistic ambitions, but to a first-time eroge reader like me with no particular interest in the medium, those two aspects of the game were in frequent conflict each other, leading to an oftentimes dissonant experience.

Look, I knew full well that this game was going to feature some depraved shit down the line, and I certainly don’t have anything against artistic works exploring difficult topics per se. But it is hard for me to buy into the excuse that the excessive amount of cruel/shocking/vulgar material here all exists in service of a greater artistic goal—and yes, there is a limit to how much of that content a story can sustain, even if the end goal is to make the positive moments seem more powerful in contrast. SubaHibi features multiple scenes of severe sexual abuse and excessive bullying that are depicted in excruciating length and detail, oftentimes with very flimsy to non-existent narrative justification, being neither crucial to the plot nor offering any new insights into the game's themes or characters. The game doesn't even try to hide that many of these scenes only exist for the sole purpose of generating cheap thrills—be it to shock unsuspecting readers or to pander to people who bought it primarily on the promise of an eroge with fucked up sexual content. Why else would there be a scene recollection feature where you can only revisit the hentai scenes, and why the hell does that include the fucked up rape scenes?

To illustrate my point further, let me compare SCA-Ji's SubaHibi to an acclaimed Japanese pop cultural icon of similar emotional weight and thematic ambition, Hideaki Anno's anime series Neon Genesis Evangelion (which evidently played a huge role in influencing SubaHibi, although never explicitly referenced). Beneath surface appearances, and to oversimplify a bit, both of these works share a similar premise, using grand, insane, convoluted narratives with downright apocalyptic stakes (real or imagined) to tell deeply personal and introspective stories about the difficulty of connecting with others and the pain of living in an existentially uncertain universe. However, both are also about finding the courage to persevere despite how hard everything can get, emphasizing the importance of reaching out to others and revealing a firm belief in the possibility of a better future. The difference between these works, for me at least, is one of authenticity. While Evangelion succeeds very powerfully in making me feel like the immense pain it depicts is coming from a real place, one shared by the author and specifically woven into his work as both a form of self-reflection and a sincere desire to reach out to others, SubaHibi very often feels like it is fetishizing trauma more than anything, using it as a narrative tool to either shock you into submission or make you horny depending on how fucked up your tastes are.

To mention a few more specific things, here are three content warnings you should be aware of. Firstly, this game features a nauseatingly homophobic depiction of a gay side character, invoking the absolute worst stereotypes of gay men as sexual predators that come to mind (whereas, incidentally, the lesbian hentai scenes are portrayed in an excessively romantic fashion, clearly because male audiences can jack off to this). Secondly, SubaHibi is creepily obsessed with the idea of fucking your sister. Or rather sisters. Both the younger and the older. Imouto and onee-san. (While a certain relationship is technically not of biological nature, it is unambiguously implied to be sisterly in spirit). Which leads to my third point, the game features a downright pedophilic incest scene somewhat late in the game, completely ruining a central relationship and probably making you want to throw up inside. Your only options are to skip through the scene in question as fast as possible or simply quit the game entirely, but I suspect by that point most readers will choose the former option after having already invested so many hours into the story and wanting to know how everything plays out.

Anyway, at this point I'm kinda tired of letting this game frustrate me any further, so let's move on to some positives points. That said, I would be surprised if what I have written so far has not already convinced you that there is no way in hell you will ever spend any time or money on this game, which, to be honest, is probably for the better. Nonetheless, as someone who has already followed the rabbit hole to the end to see where it leads, I feel obliged to report both the good and the bad.

I will start with two points that don't require elaboration but should be mentioned regardless: firstly, the soundtrack is quite fantastic. The more sentimental pieces and piano ballads in particular are absolutely spectacular and sublimely evocative, but many of the more casual or unsettling background tracks are also very strong. Another plus is the art: character sprites and backgrounds are of generally high quality, with some of CGs being quite stunning in fact. The flagship CG with (part-time) protagonist Yuki framed against the towering sky is an all-time favourite.

The narrative structure of this game is as brilliant and ambitious as it is ridiculous and convoluted—in a good way—featuring a captivating sense of mystery, masterful foreshadowing and a perspective-shifting style of storytelling that takes Rashomon to its logical extreme. Unfortunately, the characterization and character development ranges from fascinating to idiotic: the heavyweights in the cast are mostly great, but many supporting characters can generally be filed under one-dimensional, empty-headed, wholly dehumanized stereotypes.

Either way, one of the best aspects about this cursed visual novel is the way it draws so much inspiration from a myriad of external sources, both Western and Japanese, including poetry, literature, philosophy and otaku culture. Importantly, this game's heavy reliance on intertextuality does not rely on mere empty name-dropping (although it certainly does some of that too), as SCA-Ji manages to seamlessly incorporate a whole wealth of material into SubaHibi's narrative and themes, on both micro and macroscopic scales, in a way that is synergetic and genuinely impressive. This may sound contradictory to my earlier, unfavourable comparison to Evangelion, but here I'm talking about the experience at large, not just the depraved shit. Obviously the whole rape torturefest aspect of SubaHibi only occupies a minority of the overall reading time, otherwise I would have never gotten through it. For example, one of the most fundamental influences, and cited many times throughout the novel, is something entirely unexpected: Wittgenstein’s Tractatus-Logico Philosophicus. In fact, the Tractatus forms the entire basis of SubaHibi’s core philosophy, which I must say I found quite powerful and resonant, though more for its poetic rather than intellectual merit. A quote from A. C. Grayling's Very Brief Introduction to Wittgenstein I think hits the nail on the head and equally applies to SubaHibi's philosophical ambitions as well:

"The vividness of Wittgenstein's metaphors, the unexpected examples and turns of thought, generate the sense that something profound is being expressed in his writings. Wittgenstein is in some ways a poet. Once one has sifted his texts and has ceased to be dazzled by the brilliance of metaphor and the poetical quality, once finds much less argument, and very much less definiteness in the crucial conceptions, than is expected in and demanded from philosophical inquiry. This is disappointing. But perhaps the value of Wittgenstein's work lies as much in its poetry, and therefore in its suggestiveness, as in its substance."

Dedicated fans of SubaHibi sometimes characterize it as a 2deep4u philosophical treatise, but for me at the heart of it all lies a simple but life-affirming message about the ability of two isolated souls to reach out to one another in a meaningful way, which is rendered particularly powerful because of this game's hyper-obsession with themes of death, solipsism and the limits of one's own cognitive world. On a meta level this conviction regarding the possibility of meaningful interpersonal bridges is also extended to the author and the reader (as well as art and audience in general), but I think I'll let you explore the rest for yourself. Let me just say that I do think the manner in which it approaches this topic does have a kernel of profundity, though more on an intangible level that is hard to articulate (which I could say ties into the game's exploration of the limits of language, but may as well just be attributed to my insufficient writing skills).

Anyway, in conclusion: while this game will often make the reader feel miserable and disgusted and has absolutely no shame in putting its characters through tremendous, largely pointless cruelty, I wouldn't go so far as to say it has no love for its characters or the player. SubaHibi simply takes the idea of emotional range to its extreme, for better or worse. (Truthfully, oftentimes for worse.) It goes through extraordinary lengths to end on a resolutely positive and uplifting final note, but unless you have an alarmingly high tolerance for excessive depravity and cruelty, you are unlikely to emerge from this experience without feeling seriously conflicted about it. Ultimately, I think the most revealing praise I can give is that, despite its enormous length and plethora of shortcomings and low points, SubaHibi was still worth it in the end. I will miss it and I will cherish it, as much as I will curse it.

This is, quite possibly, the most timeless JRPG ever made. From its gorgeous 2D backgrounds, expressive spritework, tight pacing, and gameplay mechanics that were ahead of its time in terms of the convenience they offered, this game holds up in just about every regard as a true classic of the genre.
While I'm sure that much of this has been said countless times, as it is true, I can't help but look at it somewhat differently as a longtime fan of the JRPG genre and all that it has to offer. Chrono Trigger to me represents a turning point in the genre's history: when they started becoming more accessible, more thematically complex, and more anime inspired. It's a game still rooted in many conventions of the past yet not mired down by them, while also being one that showed glimpses of what was to come without the pace being dragged down or the story too complicated.
I think it's this particular point where its design philosophy falls that allows the game to be beloved even outside of JRPG circles, because just about every complaint from people who don't normally like turn based RPGs is either absent or remedied to an extent. The cost of this is that the game feels simple to someone like me who LOVES the mechanical and narrative complexity of many recent JRPGs, and while I could complain more about what this game isn't, I find what it is to still be rather impressive even when separated from the gaming landscape of its era. The truth is that there's often charm in simplicity, and when all of the pieces fit together just right like they do here, it's hard not to appreciate it. The story beats flow from one to another without staying in one location for too long, the combat is snappy and offers a sense of progression that encourages switching out your party members regularly, the bosses feel varied and the set pieces for these fights make each one stand out, the characters each have strong standout moments to make up for having relatively little dialogue throughout the story (or none in Crono's case), and the soundtrack does a great job of elevating all of these moments.
With these factors in mind I can't help but think that this game is perfect for people just getting into JRPGs, as it's not too difficult and sets up the expectations for what the genre is all about and capable of. It almost makes me disappointed that I didn't play this earlier, but in a way I feel that my perspective has given me a different kind of appreciation for it, so I will always value what this game was and still is. No matter how many games I think handle certain aspects of their design or storytelling better, there's never going to be another game that captures quite the same near-flawless experience that is Chrono Trigger.

Saints and witches, angels and demons, blessed and cursed… contraries that are true depending on the perspective, but that turn out to be false in the overall image. Behind those labels, made up to simplify complexities, there are just regular people and their circumstances.

Discrimination for one’s gender, racism, greed, honor, class differences… many unfortunate events may push someone into doing harm to get away, taking into account all of the perspectives there is really not one true evil to point the finger at and to condemn. Does this excuse anyone from hurting? It doesn’t. Having to sacrifice others is never an option, it may seem like it sometimes, but at that same moment the damage is done for not even considering a way to protect everyone as the only real choice. Should there be vengeance upon those who hurt? Not either. Trying to pay with the same coin not only creates the well known never ending cycle, as other people get caught in the consequences escalating the conflict into eternity, but the own person who seeks vengeance ends up trapped, unable to find their own peace, arguably suffering more than anyone else. The proper penance is not receiving the damage dealt back, it is compromising and being active towards changing for the best.

A game with so much tragedy and suffering can be deceiving at first. Everything will end up the worst way possible, the characters, even with their reasons, seem to make all the wrong choices, hundreds of years pass on with very few hints of hope that is slowly vanishing. But the game never rejoices in said suffering, it is there to make us understand every perspective properly, but always treated carefully, conscious of what is shown and how. Where the game rejoices, be it on the scarce illustrations and especially in the extended romantic narrations, is in the more tender moments.

A “chapter” stands out as a pillar in the middle of the story where the true heart is revealed. Only two people, trapped, who went through a lot of suffering, being betrayed by those who were closest to them at some point, unable to trust anymore. It is because they share stigmas upon them that they can, ironically, understand each other so well. From there on the relationship just flourishes in mundane and beautiful ways, talking every day, picking some flowers in the garden, playing chess, reading a book together, a declaration of love that slips through the tongue…

Forgiveness, of oneself and therefore towards those who hurt you, is a long process, it cannot be granted so easily. The first step is listening. This is no easy task for any side, the one who has to tell also has trouble opening the doors that were shut in order to forget, but said doors cannot stay closed, the past cannot be forgotten, even if it hurts. Only upon sharing and understanding, the fairy tales will come down and reality can be taken on. The past cannot be changed, the damage is done, but for that same reason we must do our best from there on. To have faith and to be our best as we push forward for a better future.

Going into this, I wasn't fully sure what to expect with the new formula, new setting, new main character and all that

For such a refreshing take on the series and the start to whatever comes after, I applaud the number of risks they took with this game. Yet for all of these risks taken be it with the writing style or gameplay, all of them contribute towards making it a great entry furthermore. That's not to say it isn't without issues, the new gameplay certainly felt experimental and you can see they weren't fully clear about what to make of it, but what they did make of it is fantastic. I trust 8 only to improve upon it.

The writing, where do I even begin...this game is probably the most suited to my tastes in the series as far as general writing style goes and I couldn't be happier with it. The lighter tone yet more mature approach to social issues like the existence of a backwards society that no other game in this series does justice, extremely fulfilling side character content for the main cast, brilliant tie ins to the first 7 games and on....yeah I could sit here all day about how well put this is for a new identity to the series. My issues with the story are far too minimal to even mention.

the best game of all time doesnt begin to describe how fucking incredible this game is.

i originally played the switch version about 10 months ago, gave it a 9/10 and moved on. but in the coming months, i just couldnt stop thinking about it. it became my favorite game of all time, after i dwelled on it in those months.

fast forward to, november and i buy a ds copy and borrow my friend's 3ds, so that i can try the original gameplay. i started playing it in early january.

admittedly, i wasn't too fond of the combat system in the beginning. i thought it was needlessly complex, messy, and just way too much to handle. but as i played through the game i started to realize that was intentional. i thought it was a stupid statement to say that a game's combat system "reinforces its themes." but now, here i am. saying the exact same thing. about mid game i started having a blast wih the combat. and it all clicked with that joshua quote. everything i described about the combat system above is the exact same with people. it really does reinforce the games themes. by late game, i was having the time of my life, feeling the exact same things i felt a year ago. the only complaints i have with the partner system is that most of the time it boils down to mashing the left or right, with an occasional up or down. but i havent grasped the complexity of it in that sense, then. (just like people!!!)

trust your partner. i found myself repeating that phrase, time and time again throughout the game's combat. you really do have to trust your partner. when you look at the bottom screen, you need to have faith that everything wont go to shit on the top. when you look at the top screen, you need to have enough trust in yourself that youre in a good enough position to look at the top screen for a while. its an endless juggle of trust, just like people

yknow i was quite cautious when i decided to play this game again. it was my favorite game of all time, and i was terrified that it wouldnt live up to this pristine, fond image i had of it. i found myself doubting that it was that good at multiple times in the early game. as i played tho, with my more analytical approach this time, boy am i glad to say it lives up to that pristine image, even more so than i had thought originally, with the added complexity and reinforcement of the gameplay. there were way more profound quotes in this game than i originally remembered. it does an even better job with its themes than i remembered, too. especially with the segment after the final boss. it puts everything neku has learned to the test, and i didnt realize that the first time around. maybe, just maybe because i hadn't expanded my world yet.

this can't be a fookin twewy review without mention to the banging ost. i still prefer final remix's ost, but who wouldnt? i also like a lot of the final mix versions of the ost more as well(save for long dream and a few others i dont care to mention). but we live in 2022, so i just put things like transformation on during [that boss fight] or long dream 1980s in [that boss fight]. hell, even then most of this was played without sound on as i played it on the bus 75 % of the time. at the end of the day tho its still the twewy ost, the core is still there and we wouldnt have any of the banging remixes or rearranges without this.

conclusion: every one from the ages of 13-17 needs to play this epic formative game.(just like p5!) very epic, thank you twewy. i like this one more than switch version now.

When They Cry is a series that strives with its sincerity and wishes for nothing more than raising happiness and empathy in the world. Umineko Chiru might just be best example of that.
If you can tolerate (or even enjoy) its amateurish sides, you will find yourself in a beautiful and very inspiring dialogue with the author, questioning yourself on why you're even here reading fictional stories, why are you trying so hard to understand the circumstances of these characters? What is it to you and what is it for the author, trying so desperately hard to craft these stories with the little they have.

Umineko as a whole is what I look forward to the most in fiction and it forever complemented me as a person.

So I can only give a big thank you to everyone creating with the intent of making people smile.