Down the sinews of memory lane again.
You have this spirit caught in a tree in the Whispering Hillock that utters : "A mare, wild and free...In meadow's pasture caught...Dark as a bottomless well...Black as the depths of night...Such a beast, no other." It's one of the best moments of the game. The whole quest smells like putrid devotion, with a love for language old and profane. Instances like these are when you truly understand how enamoured Wild Hunt is with speech and its intricacies, the way it can flood back and forth between rustic tongue twisters and theatricalities. This, to me, is the draw, at all times, in a game such as Wild Hunt.
But words are precious things and a story like this one always has too many of 'em. In the process of playing a videogame, of sitting at the desk for hours on end - consuming swathes of informations even in the most restrained of environments - we tend to fuse with it. A mouse movement becomes a handy one / You learn how to instinctively use the array of systems at your disposal. Ease of play ; you ride through the mechanics, swinging your sword aimlessly before picking up a thousand little materials that you can never grasp anyway. Then you press A to have your horse get you to the next dialogue. Imagine bearings of all places in a fantasy setting - but let's say for a second that it's the point, because it is effectively the point. Speeches of all shapes and sizes are Wild Hunt's way of framing the moments, big and small, that tend to make or break our experience. You don't necessarily remember the time you looted a Witcher's grave but you do remember setting up a stage play with your best friends at the end of the world. Speeches, short and long, are Wild Hunt's way of conveying theme. Of manifesting (and maybe even warping to the extent of our choices) the text. Wild Hunt, as it happens, has a lot of thoughts on human nature. On society. On being a father - every ten hours of gameplay or so.

But in these moments all I really care about is Johnny the Whiterun guard that told me about the arrow once lodged in his knee. What gets me thinking - what got all of us thinking in truth - is just how common of a name Johnny was in Northern Tamriel and how many arrows seemed to be flying, daddyless and unsupervised, around Skyrim's terrain.
This interaction is revelatory to me.

Because the more you play Wild Hunt and the more you realise that its open-world is full of Johnnys. Because what I need to know about Phillipe Strenger is not a façade reproduction of abuse or some kind of temporal puzzle that would allow me to solve the riddle of his humanity.
I don't care about the how, only the why. Why did you take up arms in war ? Why did you choose that woman ? Why did you no longer choose her ? Why why why. And in the absence of answers to this question, a movement then, something to bend me towards the videogame.
It's like, I could never trust someone whose favourite game is The Stanley Parable. It's not about whether The Stanley Parable is good or bad. It's about It being a game of hows and ways. Of metatext for the sake of the metatext - so just a text, then.
Wild Hunt is a game that asks the Skyrim soldier the circumstances of his crippled knee, but rarely why he wanted to venture the wildernesses in the first place. And I think that's preposterous.

One of my favorite lines in the Whispering Hillock goes as follows :

"It is done already...
It cannot be undone.
There are no roads...
To Aard Cerbin."

This is the pIace. Somewhere beneath the veneer. I wish we could go there. Leave the boring social apparatus to the kings and the elves and instead chase a wilder one. Be explorers, adventurers of strange forces beyond Geralt's comprehension. Actually, I'd just wish I could feel his body, his thoughts sometimes incorporated in play or dialogue variances. But I'm always away - away from men, from him - and decidedly following foot-tracks to learn the name of a killer when all I really needed to know was the shape and colour of their favourite dagger.

I was going to give this another shot, but I actually got so pissed off at this that I just gave up and quit. It is genuinely way worse than I remember it being.

Fallout 4 is slow, sluggish, and boring. Every action feels weird and delayed. The UI is among the worst I've ever experienced in a video game. Menus within menus, inconsistent buttons to get out of said menus, and I swear sometimes the game straight up drops button inputs.

For aiming to feel anything close to decent with a keyboard & mouse, you have to edit the ini files to disable mouse acceleration and make it so that vertical sensitivity isn't always half of horizontal sensitivity. The fact that this is even a thing in a 2015 game, well after PC gaming became more prominent, is fucking baffling to me. Options in general in this are impressively limited. You can't even change brightness settings or FOV in-game.

Exploring the world sucks because it's ugly and uninteresting. Everything is an ugly shade of brown, gray, or green and it all looks smeared together like someone took a shit in their hand and wiped it on a canvas. Enemies blend in with the environment too easily and love to hide behind corners, making most encounters a game of hide and fucking seek.

Skills and general RPG mechanics are gone. All you really have are perks, which leave much to be desired. You're pretty much required to get stuff related to guns and combat because so much of the game is a generic shootbang. Quests all just involve killing things. Most locations are just dungeons with things to kill and a treasure chest at the end. The honest truth is that this is basically a looter shooter in disguise as a Fallout game. What's bizarre about this is that the combat isn't even good. Like sure, the gunplay is technically better than the previous Fallout games, but I can't stand how this game feels. Something about the flow and feel of combat in this compared to 3/New Vegas really rubs me the wrong way.

I'll admit I do kind of like the crafting mechanics and the base building stuff. It's clunky, but you do get a good amount of freedom with it. Ultimately, it comes off as kind of pointless though.

I recall my first playthrough of this, I did almost drop it due to similar feelings. I don't know what happened, but I think I somehow managed to push myself to finish it and eventually got used to things. I don't think I have the ability to do that anymore. Used to think this game was merely mediocre, but now I think it just sucks.

This game is a mess of spaghetti code and bugs and crashes, but despite that it's still one of the best games ever made.

In contrast to Bethesda's take on Fallout, this is a true role playing game. Most quests have multiple outcomes and solutions that account for several playstyles. They also all connect to the overall story and conflict in a very realistic way. While the open world kind of suffers and is less interesting to explore compared to Fallout 3, it makes up for it for the sheer amount of content and replayability it has. The fact that this was made in merely 18 months is insane to me, even with the reused assets.

The DLC is a mixed bag. Dead Money conceptually is great with a fantastic plot, but the gameplay is a chore, especially the speakers and radios you have to deal with. Honest Hearts is fun to explore, but its quests are basically just fetch quests and the story is completely carried by Joshua Graham. Old World Blues is funny, if a little too goofy at times, and fun to explore, but has similar issues with Honest Hearts where all the quests are fetch quests. You at least get crazy rewards from it.

Lonesome Road meanwhile is arguably the worst DLC in any Fallout game. The environments are cool, but Ulysses just sucks as a character and is the epitome of everything wrong with Chris Avellone's writing. Add in a linear area with obnoxious enemies and you get one slog of an add-on. Killing Ulysses is the best part of it.

Not 100% sure if New Vegas is still my favorite game, but it's definitely in the running. I just hope that Obsidian or some other decent developer can some day make another Fallout game instead of waiting for Bethesda-slop.

[first impressions, 4.5h playtime~]

Hades 2 welcomes you back into its familiar world, now all a little brighter with a beautiful mix of yellow, blue & green hues. Melinoë's presence is immediately charming, both softspoken, and determined. The world you walk through is one where the past events haunt the walls and weighs heavy on the hearts of its inhabitants characters. It’s a compelling intro - the hub’s witchy aesthetics with its big cauldron and Headmistress Hecate - and all the new prominent female presences - really make it stand apart from its predecessor. Aesthetically and sonically, this was even more my jam than the first.

The biggest combat change was going from multidash to dash + sprinting as the movement tools. Ideally this moves the game away from the dash bonanza the former game was, but the arenas are as tight before, filled with obstacles. This makes sprinting awkward and not a reliable tool outside of more spacious boss arenas. On top of that, they removed the ability to destroy projectiles with attacks (save for when you use the staff), making the projectile-breaking boon for the sprint feel mandatory to avoid chip damage during trash mob rooms. Additionally, they tried to make resource management a bigger question by adding the magick/mana system. These are all good changes on paper, as it makes controlling Melinoë feel distinct from Zagreus, and ideally would allow for more combat approaches to be viable if balanced properly. However, the issues with the combat don't stop there and are compounded by the boon system, which is still largely the same as it was before. This suggests it doesn’t make for very memorable, outlier runs due to how unimpactful and homogenized the choices are, even when stacked. (The addition of magick consumption/regeneration boons does not change that either) The combat encounters outside of miniboss and boss rooms are still groups of trash mobs that spawn in waves - fighting them feels like going through the motions. And when you do reach a boss fight, the damage you can dish out can feel rather laughable - until you’ve got a decent amount of upgrades, and a decent boon set - making for drawn out fights where you’ve already dodging, hitting and waiting to deal with the damage sponge. In the IGN review, it is said that “many roguelites suffer from this feeling of having “doomed runs” where you just don’t get the kind of scaling or key upgrades that you need to survive in later levels, but that was never my experience with Hades 2”. My experience with not only Hades II, but the first one, stands against this. In both games, you will run into encounters that while they might not feel out of your skill level given their attack patterns, will be damage sponges. To alleviate this, you will spend a lot of currency to get you powered up to a level where monsters in the new area will not feel like a chore to kill. Hades II is not the kind of roguelite game where the tools to beat the game are given to you from the get go and the meta-progression mostly unlocks new gameplay elements. A significant part of your power budget is in the meta progression, which a quick glance at the possible unlocks will make clear. Therefore corpse, or rather currency runs, where you’re gonna be aiming to get as much currency as possible to unlock the next thing become more or less naturalized in the gameplay loop. It’s not a game where you can solely focus on engaging with the combat itself to make it deeper into the run. Doomed runs do in fact exist, and I’d argue the game necessitates those as part of its gameplay loop. Currency will always be on your mind, and in Hades II even moreso, as they’ve added extra non-combat interactions which will yield currency: most notably, mining ore and gathering herbs. These are not optional as they are part of meta-progression and do disrupt the combat loop further as now you’re not only killing trash mobs, you’re ever so often doing a menial game of clicks to earn 3 ores. In Hades I, the weapons were merely locked behind boss currency, but here they’ve added more currency bloat and requirements. The herbs and the gardening fill the same niche, though part of it happens in the hub area. I don’t see these as meaningful additions to the game and find they distract from the core aspects of the game. Something the first Hades got right whilst adding fishing, as it did not present a necessary aspect for progression, but a little side activity. If we’re adding minigames to a death run game, why make them take the wind out of your sails?

Now we’ll come to the biggest gripe I had with the predecessor, and that seems to be replicated here from what I can tell: the balance between gameplay and narrative. The first Hades suffered from a combat experience that didn’t measure up in depth to the magnitude of story interactions & plot development - the ones you have to grind to unlock and will be provided to you in fragments. It functions through a sort of dripfeed system where, once you feel you’ve exhausted the options of making a run through the same old dungeon more interesting, you’re still left with a lot of relationships and story you wanna pursue. In my limited time with Hades 2, I’ve already felt an inkling of this as the 4.5h yielded not much in the way of story engagement despite having done a decent number of runs. It becomes the game’s own carrot on a stick, throwing yourself into the pits to gain some currency, a gift or two and hopefully a new story tidbit that feels interesting and meaningful - and not just characters doing a variation on talking about the tropes they’re assigned. In the original Hades I’ve had my fill and put the game down after racking up 50h, which isn’t a shabby number to put on a game, but the main reason I put it down was because I didn’t feel the game rewarded my combat investment through story in a worthwhile manner anymore. It almost becomes the game’s own skinnerbox, where dripfed interactions are the reward for engaging with the combat, as the combat’s fun and merit dissipates due to the low variance of the runs, even if you do try to spice it up and make it more interesting. There’s a fine line between frustrating and doing something for the sake of something else, and the game has crossed those lines too often at that point where the deaths become a means to an end. It makes me beg the question why it was conceived as a roguelite in the first place, as SG’s previous games and the experience with both of these games, make me feel like they could’ve created a very compelling experience that isn’t padded out by currency grind and dripfeeding story as you rack up deaths.

The game doesn’t need me to shower it with praise. I wrote this mainly to formulate my gripes and to share them in an effort to illuminate what I identified as the series’ previous pitfalls and missed potential with this iteration during the few hours I spent with it. I’ll do more runs here and there throughout the year, and reassess it once it’s fully released. I'm not holding my breath for significant changes. As it stands, the road they’re taking for Hades 2 seems to be: more of what was already widely beloved with slight additions/variations.

[*Update after 10h+ playtime*]

- The 3rd area addresses the tight space concerns. its a bigger area and the upgrades are spread throughout it, making the game feel much better as you can really make use of the movement options here.
- However, despite unlocking more things, damage numbers feel low across the board vs. the shield and bullet sponge enemies. It seems to stem from both base damage being rather low and boons not feeling impactful. As it stands, the game's combat and damage don't seem properly balanced, making the game feel like a slog more often than not.
- Sadly, getting further into the game only made the slog that is the currency grind that much more apparent. They've really expanded on the amount of currencies compared to Hades 1.Ssome are area dependent e.g. you can only get this currency in x area with y tool (and you can only pick one tool per run?!). Another big one called F. Fate that is needed for plenty unlocks but you can only get from the exchange broker or certain NPCs when they give you the option during your run. This all exacerbates the issue of currency runs, because you wanna get all this specific currency, but at the same time, you wanna have a good run. It creates this tension between currency and boons that I feel is contradictory to making the game feel rewarding to play, because you're either gonna make yourself stronger during your run, or you'll get currency you need - and this choice shouldn't need to exist in a game that is this grindy in the first place. Having good runs should translate into getting plenty resources you need. This deviation screams bloat through currencies and doesn't make the game feel rewarding to play.

TL;DR game has currency/grind bloat and the damage numbers seem off. Lots of bullet sponge/shield enemies - combat (and boons) don't feel satisfying, rewarding nor interestingly challenging
My recommendation: play Hades 1, wait for this game to get balanced

Masterpiece of unrivelled proportions.

This is what gaming is all about! Pure and genuine art-form, a journey through another world. It is amazing how this was developed by just ONE PERSON, which in itself, it is already mind-blowing.

This game is a puzzle-focused metroidvania, the one with the most personality I have ever seen or played. The music, atmosphere, mind-bending puzzles and lore (even meta-lore) are second to none.

Thanks for rekindling my hope for humanity, definitely THE BEST game I have played in quite a while.

Started this way back in August but it took me forever to finally finish it clearly. Over 100 hours poured in puts it among the longest games I’ve played, though I guess I’m kinda glad I went so slowly given Larian would add another new patch whenever I decided to turn it back on

It’s been a while since I’ve played through the Divinity games, but given how great Original Sin 2 was I’m not surprised that this is as highly acclaimed as it is also. BG3’s a very impressive RPG in design and presentation, managing to maintain the level of depth traditional to this style of top-down CRPGs, but with immense AAA production values to match which for the genre sets it apart from everything else in that regard. I’ll admit I’m not really familiar with tabletop D&D and its rules (nor have I played the first two Baldur’s Gate games yet), but as a standalone experience I wasn’t lost and it’s amazing what they pulled off here. The closest I guess I can compare it to is like a more ambitious Dragon Age: Origins, which is awesome

There is just so much here, you’ll probably spend dozens of hours in the first act and its opening areas alone cause of how dense with content it is. Basically all of it (while being mostly optional) is worth doing which made it very easy to sink a lot of time into, and given the game’s many different quest variations and choices you’d likely get a lot of replayability out of it too. Graphically it looks fantastic, but what Larian really shows off is how dialogue is done with unique cutscenes instead of text boxes, using full mocap for literally every single NPC you can talk to. Given how BG3 is no less massive in scale, that’s a pretty remarkable advancement from their previous games

The main story itself is good, and the stakes with trying to remove the tadpoles in your head keeps it compelling. But I will say narratively I think it peaks with Act 2, as Act 3 gets a bit less focused to me and wasn’t really a fan of how rushed parts of the ending felt. I did like the epilogue and how it wraps everything up but as far as I know, that part wasn’t even in the game at launch and had to be added with a patch

The characters and their performances are largely top notch though. Some of your companions are more fleshed out than others (Shadowheart and Astarion were my favorites), but for the most part they’re all memorable and their personal quests do a good job developing them throughout. Personalization for your main character is strong too, though will probably depend on whether you choose a custom background or an origin. I made the perhaps ill advised decision to do my first playthrough as “The Dark Urge” which is considered an evil path, but I found it really interesting to roleplay as someone trying to be good despite that. It adds a very cool amount of connection to your character and the story, and really liked how varied your dialogue options are so you can still shape how you respond to your own actions and past. It seemed to affect quite a lot especially in Act 3 too so can’t say how much is changed without it, but would recommend for sure. Whenever I decide to replay I’ll try going full evil next though >:)

Combat is of course turn based with the standard fantasy classes you’d expect to choose from, and since this is D&D based all actions and skill checks are done with dice rolls. The RNG tied to this can be annoying (will not deny I have a long list of quicksaves), but I enjoyed its usage in gameplay and decision making. Will say combat can get really slow at times though, why they never have a way to speed up turns in these games is beyond me, you’ll frequently fight numerous enemies at once and having to sit through every single move they make gets a bit tedious at times. I also felt like a lot of the loot/equipment you find was a bit unrewarding, I ended up using armor and weapons I found in Act 1 for most of the entire game cause I didn’t really have much reason to switch them out. But that may just be a D&D thing with progression, especially since the level cap is 12

Besides that the only notable problem for me was performance, which could be better… It’s definitely been improved with all the patches, but at release you could tell it still needed much more polish and even now it’s not exactly stable. I’ve actually played this both on PC (Steam Deck) and PS5, though both weren’t ideal for different reasons. On Steam Deck it ran fine for most of Act 1 and Act 2 at 30FPS, and with FSR 2.2 (this wasn’t added til later tbf) it looks pretty great now also. Act 3 really starts to push it though, it’s the most impressive part of the game on a technical level given how packed the area is with so many NPCs, but clearly the least optimized as I had near constant FPS drops and more noticeable bugs like frequent animation lags or quests being easier to sequence break. That said, those with much better hardware for PC probably won’t have as much of an issue

PS5 in comparison runs as it should, even Act 3 mostly holds 60 FPS in performance mode from what I’ve played which is great. This would be the obvious way to play BG3, if not for the insane amount of crashes I’ve had on it that crippled the port for me. I haven’t played something that crashed this often since Cyberpunk at launch, past a point I couldn’t even open my saves anymore without getting kicked off and some of them even started saying they were corrupted somehow, rendering it basically unplayable on there (thankfully there’s cross save support). This is still not fixed in my case and not sure if it’s just my PS5 or something to do with the game on console, but regardless wouldn’t advise buying it on there. Some don’t seem to have as much of a struggle with it though so YMMV on that I suppose

Despite the gripes (and extreme annoyance at the PS5 version), I really enjoyed BG3 and was sad to see it end after all the time I spent on it. More than anything though I’m glad it’s such a massive success for Larian, despite their positives isometric CRPGs are usually seen as having niche appeal so it’s cool to finally have one break out into mainstream like this has. Hopefully bodes well for the genre going forward

Cosmic Wheel Sisterhood is made of incredibly interesting game design ideas, but is occasionally let down by inconsistent writing quality.

That's not to say the writing is bad -- some of it is very good! -- but there are passages that felt like mid-2010s AO3 prose instead of Professional Videogame Writing, if that makes sense.

There's also some occasional tension between your own role-play and the game's text. Certain dialogue choices ask you to express explicit character traits (e.g. do you value Romance, Knowledge, or Power), but the player-character will often say things that directly contradict the character-writing you've done on your own.

With that said: if you think a cute wiccan lesbian visual novel deckbuilder is your sort of game, you should absolutely play this.

An absolutely wonderful little game. Deconstructeam have become some of my favourite game devs, with their focus on unconventional narrative experiences with a heavy queer and left leaning focus. From their small game jam projects to full releases like this, I always get something out of it and walk away with a lot to think about

Honestly, my main hangup (and I recognize this absolutely might be own my feelings of insecurity and invisibilty in queer spaces) is that it feels a bit alienating towards transmasc people, like another review mentioned. The game explicitly mentions that witches can only be women and non binary, and there's a plotline about a trans woman being a witch that I thought was sweet but also recognize that it's not my place to judge since I know some negative reviews weren't happy with it - but the game skirts around the idea of transmasc people existing, while it's awkwardly sitting in my mind and it just felt a bit cruddy. I guess in a way it can't mention them? I could go into the way "women and non binary only" spaces exist in real life, and usually serve as a way to alienate certain groups, but that may be reading too deep into things. Either way, there were only a few scenes where I felt this got in the way of enjoyment and am mostly able to push it aside

The writing here is so fun and powerful. Some might say it's cheesy but for me, it really works. Although it will often give you small glimpses and vignettes into its world, rather than super in depth looks, but I kinda love that because it feels like poetry

I think it's worth noting that the second half of the game is more of a political campaign sim, where you allocate people to tasks and try to influence others, which I did not expect. It isn't bad or anything, but I do think I preferred the first half of the game. Simply talking to witches, creating cards and reading fortunes were strong enough mechanics by themselves that they would have worked for the full game thanks to the high quality/intriguing enough writing

First, you created your world.

What should a game be? I've never been inside the room when a studio decides to make something new. It's not hard to imagine what it's like to have all the potential in the world in front of you, just waiting to be molded, but rarely is that the most accurate picture of what the creation of anything new on a significant scale looks like. Why would most developers bother asking what a game should be? What it is is set in stone from before they even began: It is a product, first and foremost. This doesn't preclude it being art, even great art—the two categories are not mutually exclusive, even if they are in tension with one another.

But when I sit down and play The Cosmic Wheel Sisterhood, it feels like everything about it was designed downstream of that one vital question of what a game should even be. I feel this way with Pentiment, with Heaven's Vault, with Strange Horticulture, Book of Hours, and Suzerain: It feels like I am standing on the edge of a new world, even while they are inescapably familiar and old in many ways. But so it is for anything new. Nothing springs out of the aether. These games and their designers recognize that what they are is written in their very essence—not merely their code, any more than our DNA is our essence exactly—and that we are the ones who write what that essence can be.

The Cosmic Wheel Sisterhood stuns with its structure. It loosely aligns itself into chapters and acts, following a linear path, but one that is hard to distinguish from the little splits in every direction flattened under the feet of those who were once lost here. That is to say: I had no idea where the game was taking me, but I was eager to follow and see what I could along the way. You build a deck that is not quite tarot. You read the cards for those you meet. You change the rhythm of fate. This is the main connective tissue of the game, but the game doesn't so much revolve around mechanics as it does around the ideas of fate and meaning. Halfway through the mechanical focus of the game completely pivots and you find yourself mired in a political race.

This prospect thrilled me. So often a world is constructed to draw limitations on a narrative when working with something this intimate in scope. It is the jailer: You cannot leave this single location, and the Lore justifies why that is. Here, the world is constructed to shatter the limitations that we are stuck with. If we are jailed, why is that, who enforces it, and how can we interact with the world nevertheless? The existence of the jailer and the jailing society are contained within the jail itself. The smallness of this game creates something that feels so expansive that when you look back at the end, it's hard to believe it's just been a couple hours.

Much of that, to me, is created precisely by the opacity of the game and its mechanics, similarly to many of the games I listed previously. I'll say it: I'm fucking tired of the fetishization of player agency, letting you do anything and go everywhere or whatever nonsense that idea has morphed into. I don't need games to be a world that I live in for exorbitant amounts of time. I love when games have totally inscrutable mechanics and some degree of randomness and lock you out of events and force you to just reckon with whatever decisions you made. Give me severe limitations in scope and options, just make it interesting. Have a vision, for god's sake!

And yet: The Cosmic Wheel Sisterhood's vision is of a world in which you truly construct your own meaning (which is a funny thing to say, given that meaning is perhaps the only pure act of creation that any of us engage in). It is all about agency. There's an idea here about playing the cards you're dealt by recognizing that you get to decide what the cards mean, despite the limitations of each card. But once you lay down the cards, the truth is decided. Fortuna writes reality.

Which is a funny tension, isn't it, the idea that agency is real and you decide what is, but then how could anyone else have agency when you simply write what is? How could even you have agency once you've read the cards? It's that delicious tension that lies at the heart of this game, time laid out flat so that the future and the past and the present are all just here at once when you shuffle your deck. I feel this tension most during the peak of the political campaign when a Cosmic Poet stops by to help you. Such a small thing and still we reach for the cards to generate the poem that we would have written even without the cards, skipping straight to the end that could not have been without all that we skipped over. They call it a paradoxical poem. It's beautiful:

First, you created your world. Waiting on the first beat of a new universe, you float, weightless, timeless, inside the potential of magic. This is what happens when you hold two mirrors together.

A piece of art is almost like a person. You see the fragmented experiential pieces of all that created them: the other. You see the thoughts lifted from your own head and reflected back at you: the self. You recognize the self inside the other and the other inside the self. I think I love this tension of agency undermining itself because ultimately, who gives a fuck? I don't care about whether I really have agency in a game. I just want it to be an almost-person, to be a mirror. I want us to bounce light back and forth between us until it fades away into reflected incoherence, fully subsumed into something new that we've created by staring into each others' abyss. I want it to create something new inside me that will fester and grow until it springs forth into something beautiful.

This is what happens when you hold two mirrors together: You create. The beginning was written in the end, and the end in the beginning. What difference is there, really, when time folds against itself upon the draw of a card?

At the end of the game, it turns out nothing you did really changes anything. It all collapses back into itself, into the fate which you wrote at the very beginning of the game. You were picking a card without realizing that is what you were doing. The strokes of reality had already been drawn from that very moment.

But in-between the strokes you found everything that matters.