Category Archives: impressions

Jamming with Grandma immediately takes a turn with kidnapping

jamming with grandma capture 02

Look at that screenshot above. It’s a little girl tied up inside some sugar factory, with a pile of dynamite to her side and a spinning saw blade of doom heading right towards her. This scene takes place almost immediately after starting Jamming with Grandma, another point-and-click adventure game from Carmel Games that I foolishly assumed was going to a light-hearted romp where a young child helps her elder make some fancy plum jam.

In one way, I was right, and then I was also completely wrong, as a creepy dude in black quickly showed up and kidnapped little Kaitlyn with the full intention to murder her. No, that’s not entirely true. Here comes a spoiler: all the threats in that room are completely fake. That dynamite? It’s just paper towel tubes painted red. That saw blade? It actually goes behind Kaitlyn and cuts her ropes off. He only wanted to make it seem like she was going to die so that Kaitlyn would give up her grandma’s secret, award-winning jam recipe. Yup, all that for jam.

After escaping the dastardly plans of the disturbing man dressed in black, it’s business as usual in Jamming with Grandma. You’ll travel to a limited number of scenes set in a small, suburban town, interact with a small mount of people, pick up items, and then use them on people and things to progress forward in your quest to get Grandma all the ingredients she needs. I believe this is sugar, lemon, sliced pears, and something else I am forgetting. I’m no jam chef, though I do enjoy putting some apple jam jelly on lightly toasted bread in the morning.

I know this won’t be shocking, but I continue to experience the same problems I did with other titles from Carmel Games like Smells like Art and Dakota Winchester’s Adventures. These include not being able to tell when you can explore more of a scene to the left or right, obtuse puzzles, and extremely forced voice acting. The latter isn’t a deal-killer, but I did eventually get stuck for a minute or two in Jamming with Grandma until I accidentally hovered my mouse over to the right inside Grandma’s house and discovered there was an entire second room to explore. The artwork didn’t really make it seem like there was more that way.

Speaking of artwork, I actually really like the direction Jamming with Grandma took. It’s more colorful and defined than previous titles, where everything in the foreground, meaning characters and items you could pick up, felt flat when placed against the more detailed backgrounds. Here, everything gels together a little more naturally. Though Grandma’s artwork kind of reminds me of the Hobbits in Return of the King by Rankin and Bass. Also, there’s a kid dressed up as Freddy Krueger and hanging out on a sidewalk, which was weird, though he did eventually make himself useful for a puzzle.

Once again, I continue to pop into these titles because I’m just so dang curious about them and their titles and plots and how high the male voice actors will pitch their voices this time to somewhat emulate a woman speaking. Can’t wait to see which one I try next, though I did see a comment on Carmel Games’ blog mentioning that a new title that explored more of this mysterious man in black was on its way. Let’s hope there’s less kidnapping of tiny children.

Sliding, spotting, and shotgunning through the Gears of War 4 Beta

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I’ve not popped back recently into Tom Clancy’s The Division for a couple of reasons. One, after grabbing every single collectible on the map, I’ve found that it’s a shockingly empty, bland world and terribly lonely to play by yourself, especially when you don’t have a goal to go after, like nabbing all those cell phone recordings. Two, all of my Division buddies have been playing the Gears of War 4 Beta for the last week or so, which makes diseased New York City doubly abandoned. They got into the Beta seven days early for being special money-tossing loyalists to the series, but it went open to all on Monday, which means I get a week with the thing, which is plenty of time for me to figure out if I’m cut out for this kill or be killed multiplayer-driven world.

So far, I don’t know. I’m not great. Surprisingly, I’m probably not the worst player out there, but by no means am I at the top of the end game stats list. Getting more than three kills in a match is something worth getting excited over, and, if you think that’s silly, think back to your first time with the game, any game, and whether or not you were an unstoppable tank then or a fragile mosquito desperately facing down a shower of bullets with little to no luck on your side. I believe I did try once or twice to play a multiplayer session in the original Gears of War, which I was getting into some seven years after its initial release, and that didn’t go over terribly hot. In terms of my performance, yes, but also with how many people were still into that mode after fancier, enhanced editions were available for consumption from Gears of War 2 and Gears of War 3.

Let’s see. This Gears of War 4 Beta is…all about the multiplayer. Here’s what you get access to. There are two modes: the returning Team Deathmatch and brand new Dodgeball mode. To play these two modes, there are three available maps–Harbor, Dam, and Foundation. At this point, all I’ve played is Team Deathmatch on all of the maps, with my favorite one being whatever is the brightest one set during a nice afternoon with no clouds in the blue sky. My old man eyes are able to see the other team’s players much easier on this map, whatever one it is. I’m leaning towards Dam, but don’t make me swear on it.

The goal: murder everyone that doesn’t look like you. You’ll get randomly selected to play as either the humans or monsters before the start of each round. Each team only has so many lives and respawns, and everyone must work together to take control of the map. If not, the other team will slaughter you, and you’ll feel bad about yourself and probably not want to play anymore, especially if your own teammates are reinforcing these thoughts in your head. Thankfully, my gaming group has been relatively kind to me considering I’m brand new at all this, and I can see myself improving in small ways from round to round, but the nagging thought that I’m bringing everyone’s experience down a wee bit is a lingering friend nonetheless. My biggest hiccups are not moving around enough, going from cover to cover to cover, and learning how to blind-fire effectively.

My strategy is to generally follow a team member or two and stick near them like glue, helping where I can. A lot of my co-op online experience comes from The Division, and I had a role there too, which was dropping turrets, healing/reviving everyone when needed, and occasionally taking a shot or two at the bad dudes. Here, you really need to be on top of yourself, alerting everyone about what you are doing and where people are and how many and so on. This means a lot of communication, which is not my strong point when gaming online. There were definitely a few times where an enemy team member took me down and I didn’t say anything, and then that player took out a few more of my friends due to my silence. Whoops, and I’m sorry.

As a “thank you” to those participating in the Gears of War 4 Beta, anyone who reaches XP Level 20 will receive the Beta exclusive “Vintage Kait” character model, an emblem, and a special Vintage Kait bounty, as well as the Vintage weapon skin for the Lancer and Snub Pistol. Hmm. Lot of vintage going on here. Okay, I guess. I’m somewhere around XP Level 10 or so, with a few more days left to play, but if I somehow don’t hit this mark and get these mostly cosmetic freebies, I’ll live.

If anything, the Gears of War 4 Beta has inspired me to pop back into Gears of War 2 and make some new progress in the solo campaign (on its easiest difficulty, of course), for better or for worse. More on that later in a separate post, but let me just tease you with this: having a limited number of chances to toss a grenade into a boss sea monster’s mouth on a boat that is prone to glitches and having the characters lock up on its geometry and then having you do it all over again from the very beginning if you miss on those grenades because there is no other way to damage the beast is not fun. I’m currently on attempt number seven, if you are curious.

Antenna’s quadrupedal machine searches for answers to loneliness

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The really dangerous part of playing numerous short, free indie games is that, if I don’t get to writing about them immediately, I forget a lot of details. They lose that initial woah impact, and my memory is not all that it is cracked up to be these days, and I blame knowing too many Game of Thrones family trees on that. For example, I completed Antenna a couple weeks ago and, other than a tricky puzzle involving matching rhythmic audio tones, I’m having trouble remembering much of what unfolded. Or maybe that’s exactly what LWNA’s Antenna is supposed to be–a mysterious adventure into the unknown, where the darkness hides the light, where you are just as lost as the quadrupedal machine you control.

In terms of story, it’s more of a question–am I alone? This is what our leading robot ponders and then sets out to answer. It scans the radio spectrum for answers, hoping to be heard, while also wondering if it is meant to be heard. There’s a lot of ambiguity to Antenna, and this is especially clear in some of the radio chatter you pick up, which hints at life elsewhere, but never stays long enough to prove the theory true. I’m okay with there not being a whole lot here, as it is, in this case, more fun to wonder than it is to know.

Yet here’s what I do know. The game has a simplistic, but stunning look, one that continues to impress me since the hey-days of 2010’s LIMBO. The forefront is all dark silhouettes and white pupils, and the backgrounds are misty, murky swaths of muted color. Just enough to make you believe there is more in the distance, even if you’ll never get there. Antenna‘s in-game world is not massive or that diverse, but you’ll move your four-legged tank beast across empty plains where radio towers grow, as well as underground, and your imagination will fill in the necessary gaps. I imagined this place as some failed project to build a station on another planet that all got left behind, with our little WALL-E wannabe left to keep things going.

Naturally, a large part of Antenna‘s world and mechanics revolve around sound, which comes from…Arddhu. Not sure if that is a person or company or magical lost city in space. Either way, make sure you have the volume turned up, though I did find a few parts of the radio static hard to listen to or just a wee bit too sharp for my delicate man ears. When not solving puzzles based around specific sounds, there’s a good amount of atmospheric, ambient sound, like drips of water on metal pipes or the cling-clang of the robot’s legs as it walks.

Interestingly enough, the game requires extensive use of a keyboard, as well as the mouse wheel, to be played. No controllers allowed whatsoever. Originally, I tried playing this in bed on my laptop, with no mouse, not realizing how essential it was to even begin the game. You’ll do a lot of holding in keys and pressing other keys simultaneously, and at one point it felt like a game of finger Twister as you tried to keep everything in place, but still do one more action. There’s also some puzzles to be solved, but they most involve finding a particular pitch or tone and matching it with another to turn on some machinery or move to the next scene. Alas, the game didn’t run great on my ASUS laptop, stuttering from moment to moment and dropping audio occasionally, but I was able to see the whole thing through regardless.

I don’t know. Antenna‘s a neat thing from newcomer studio LWNA, and it’s free, so I can’t not recommend you at least give it a try and see if the sensation of uprooting a tower piece by piece using the powers of your fingers and keyboard gets your senses all thingy. I mean, it did for me, but to each their own. I might not have picked up on the game’s meaning or subtleties, but I like its look and courage the developers have for dropping something like this out into the wild with not much behind it in terms of description. May we never be alone, surfing the airwaves, praying that someone else is out there doing the same exact thing. Though I’d be totally okay with being a spider-esque, tower-building robot.

Samantha Browne’s everyday adventures are all too familiar

gd samantha browne game final thoughts

Social anxiety is one of my better and constant companions these days, but something I only really noticed hanging around my unshapely body in college, when I struggled with simply walking across a crowded campus or through the halls of the art building, especially after I decided that art, at least in terms of study, wasn’t the path for me. Still, I continued to work a few hours a week in the art gallery, which is naturally located in the college’s one and only art building, forcing me to interact frequently with former students and professors that, in my mind, viewed me as a failure. Every now and then, I’d be tasked with having to deliver something to a professor’s office, and the getting up and going was actually the hardest part, hindered by panic and uncertainty and an increased heart rate and a feeling that everything is madly spinning away from me. So, I completely understand Samantha Browne’s struggle to go make oatmeal.

I’ve had my eye on The Average Everyday Adventures of Samantha Browne for a few days now. I don’t recall exactly what brought Lemonsucker Games’ choice-driven adventure game to my attention, but I immediately added it to my wishlist on Steam. The game released just the other day and for free. It won’t take you long to get through it, and there are multiple ways it can all unfold, but I’m content with just having played it once and living with the choices that forced the game’s main protagonist, one highly introverted and nervous Samantha Browne, out of her comfort zone and into the unknown.

This is basically a lightly interactive story about a college student and the overwhelmingly large dilemma she deals with in her quest to make some oatmeal in her dorm’s communal kitchen. You never see Samantha’s face, which makes her an easy host to embody, and some of your choices are seemingly inconsequential, like what type to make (I picked apples and cinnamon, obviously) and how much to stir the oatmeal after adding hot water, and others are large enough to give you pause. Like in a Telltale Games story, when the moment hits where you have to decide to betray a close friend for everyone’s safety or side with the villain in hopes that nothing further goes wrong. Except these moments for Samantha are whether she should greet the other girls in the communal kitchen or not. Whether she should ask on how to properly use the kettle. For an introvert, while there are often choices, they always all feel wrong. The phrase “between a rock and a hard place” kept coming to mind as I clicked, as it constantly felt like deciding between two terrible scenarios, none better than the other.

So, The Average Everyday Adventures of Samantha Browne is a game of unfair decisions. All of these affect Samantha’s hunger/stress meter. I assume there is a “game over” state if it fills up, but I never got to that point. Every decision you make affects the meter in different amounts, meaning there is no ultimately safe path, and I completed the game with Samantha feeling somewhere around 75% mentally overwhelmed, but at least she had a mug of decently cooked oatmeal (two packs!) to eat back in the safety of her room. We’ll count that as a small victory.

The game is clearly quite personal, written and produced by Andrea Ayres Deets, and features original artwork and animations by comic book artist Reimena Yee, along with a soundtrack by Adrianna Krikl. Some scenes are highly detailed and others minimalist, reminding me of the early seasons of Home Movies, minus the squiggly lines, but the art style is both colorful and interesting without being wholly distracting.

Something I’m not sure of, but the game opens with Samantha instant messaging a friend online while a TV show plays in the background. You get slices and pieces of the dialogue as you read their chat log, but it was hard to truly make out what the show was about. I do recall it being somewhat vulgar, with a line related to ripping someone’s nuts off. Hmm. I don’t know if that’s an inside joke or something, but, after seeing everything else in The Average Everyday Adventures of Samantha Browne, it feels a bit out of place tone-wise. Granted, there’s some super silly stuff here too, like picking the right spoon, so maybe it all balances out. Also, there were a few sentences that read awkwardly, which could be cleaned up with a quick editing pass.

Look, The Average Everyday Adventures of Samantha Browne is important. Many might not see what the big deal is with going down the hall and making some food, but that scenario can be and is just as daunting as performing live on stage for a large audience or asking a stranger for directions or so on. Sure, you expect those situations to bring about a lot of anxiety, even in people not suffering it daily. It is meaningful to understand that not everyone experiences everything in the same way. This is about anxiety, and if you don’t know what that personally feels like, then this is about empathy. Please take the time to see which you relate to more.

Y’know, you have to explore the darkness to move forward in Lampshade

lampshade gd indie game impressions

I recently got a ring in Stardew Valley that emits a small circle of light around my character, which makes exploring the dimmer parts of the mines much easier, especially for my old man eyes. Thankfully, it’s not my only source of light, and it plays a super tiny role in the grand scheme of raiding a mine for resources that you can sell or use back at your house to help fill out those progression-essential Community Center bundles. Wait, I’m not here to talk once more about Perdido Farm. Certainly not until I get through my first winter, at least. This post is about Lampshade from Mister No Wind’s Studio, where you are, more or less, the only source of light, which makes navigating through a dark, labyrinthine cave all the more troublesome. Step by step, as the song goes.

Lampshade tells the story of a nameless woman–let’s call her Lamprini–who must travel through some mysterious, dark cave across six different chapters…for one reason or another. It’s not explicitly said, and the things that are said are said slathered in lyricism and pretentiousness. This is an odd retro world full of platforms and dangerous spikes, but also glitches and strange, old men and rules that are meant to be broken. Also, ghosts that affect your vision upon contact. Every chapter switches things up, and so the simple platforming found in the first chapter becomes hindered by total darkness in chapter two and then completely bonkers after that, with the edges of the screen no longer predictable as merely edges of a screen. It reminds me, as many things often do, of Fez, of Persist.

I’ve had to write some stuff down for Lampshade. I suspect many other players did too, unless they have the mind of three elephants combined. In which case I don’t know if they need to go to the hospital or a museum first. Right, writing. It’s a good thing I like writing because the notes-taking for this under-lit adventure feels…wholly unnecessary. Sure, it is necessary for me to map out where to jump on platforms in pure blackness, but it’s not like the path changes every time I die or if it is even different for other players in their game. It’s the same road, just hidden, and that I guess equates to puzzle platforming. The challenge comes from not being able to see, but that twist doesn’t make it a lot of fun to play.

By the way, Lampshade is played in a browser, using only the arrow keys. Up jumps, and left and right move Lamprini around the level. However, the longer you hold the up key, the higher she jumps. You can use this to your advantage to master hopping up stair-like platforms, but I still found myself losing control of her and missing a landing here and there. Or simply walking off a ledge. You’ll occasionally need to pause in front of lamps, which will reveal the entirety of the screen until you move away from them, leaving you to your memory and platforming skills. Sometimes you have to traverse across several screens before getting to the one you are supposed to have memorized, which can test your total recall ability.

Chapter 4 of Lampshade is most likely where many will walk away or rage quit. I certainly did…of the former. Despite giving you a map, which tells you very little actually other than what square cube you are in…in relation to the other square cubes, you are forced to replay many sections of the level if you make a single mistake towards the end in terms of where you jump and how you land. Naturally, you don’t know this the first time going into it, and so you’ll mess up and feel punished. It’s a cheap means to stretch out the gameplay in the middle, to ask a lot of a player already giving up things like eye-sight and security.

By all means, give it a go yourself. Do let me know what the last few chapters are all about and whether Lamprini ever sees the light of day. I don’t have a lot of faith that she does.

Telltale’s take on Game of Thrones is not sunshine and rainbows or even a game

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Well, I almost significantly spoiled my girlfriend Melanie on Game of Thrones over the weekend, which is something so bad that not even Ramsay Snow would consider doing it on the worst day of his wretched life. I am sorry, and may the Mother and the Father forgive me. See, sometime back, Telltale Games was offering the first episodes of its Game of Thrones, Tales from the Borderlands, and The Wolf Among Us series for free, so naturally I nabbed them all, figuring I’d get to them when I’d get to them. After the stinging disappointment that was season two of Clementine’s return to The Walking Dead, I was in no rush for more.

In my mind, I figured the Game of Thrones series was set during the early parts of the show/books. Mel has read the first two books–and a page or two into A Storm of Swords–and seen all of HBO’s season one. To my surprise, the game takes place smack dab in the middle of the third book, at the Twins. Seems like Lord Walder Frey is throwing quite the celebration for whoever is getting married that night. Yikes. Naturally, the game even uses the phrase “The Red Wedding” when setting the opening scene to hammer home the where and when. I immediately closed out to the Xbox One dashboard and then proceeded to turn on the PlayStation 3 for some more progress into Puppeteer, getting as far away from the Crossing as possible.

Later, I burned through the first episode “Iron from Ice” by myself, and I found it, much like with that other Game of Thrones game, beyond dissatisfying. For different reasons, of course, but I do have to wonder if this well of potential will ever get the right kind of treatment in the industry. Probably not. Personally, of the two that I have played, I figured this would be the better style suited to a world of poignant choices and larger-than-life characters. While that aspect is covered and pretty good in the moment-to-moment decisions, I was also hoping for more things to do around picking who lives, who dies, who you let live because you are weak and you know they’ll come back to kill you, and so on.

The story revolves around the northern House Forrester, rulers of Ironrath, whose members attempt to save their family and themselves after ending up on the losing side of the War of the Five Kings. House Forrester has not yet been introduced in the television series, but is mentioned briefly in A Dance with Dragons, so at least they aren’t just ::cough cough Riverspring cough:: making things up. Still, with the events post-TRW, House Forrester must make smart choices to keep themselves in the fight, and that’s where you, the player, come in, eventually controlling a number of characters in the family. There’s Ethan Forrester, who finds himself learning how to rule at a much earlier age than expected; there’s Mira Forrester, all the way in King’s Landing, who serves as a handmaiden to Margaery Tyrell; there’s Gared Tuttle, a squire who is off to the Wall to hide. I think later episodes give you others to play as, too.

Here’s my biggest problem with Game of Thrones, and it is the same problem I had with season two of The Walking Dead–it’s barely a game. It’s a choose your own adventure story, with a high emphasis on choose. Interaction is kept to a bare minimum, and you’re mostly left with dialogue choices. Basically, press this button or that button (or say nothing at all). I also found it difficult to roleplay these characters since I kept switching between them for different scenes; before, you had Lee, and every choice you made was reflective of the Lee you wanted to play as. Same for Clementine later on. Here, you get a short scene with Gared, then Mira, then Ethan, then Mira, etc, which makes it difficult to really grow them in my mind, learn who they are. I naturally tried to play each character the same, as an honest, hopeful soul in this grim world of brutality and betrayal. For many, it’s not going to work out well.

In “Iron from Ice,” I ran into zero puzzles. There are a couple of action scenes, where you have to hover the cursor over an item to grab and use it quickly, or swipe in a direction for some purpose, but that’s all early on and over with swiftly. At one point, while controlling Gared, I got to pick up two items from the room I was in–one was paper, the other some kind of plant or healing herb–and put them in my inventory, along with a sword. That said, you can’t select the items in the inventory or try to use them on other items or even people in hope of starting a dialogue. It’s a pointless list on the left side of the screen to make you think you are playing a puzzle-driven adventure game when, in reality, you are on a linear cart ride down the King’s Road. The other characters you play as don’t even have an inventory.

Kudos to Telltale for getting HBO on board to allow them to use the likenesses and voices of many of Game of Thrones‘ prominet characters/actors, like Cersei Lannister (Lena Headey), Tyrion Lannister (Peter Dinklage), Margaery Tyrell (Natalie Dormer), and Ramsay Snow (Iwan Rheon). It does help to sell the setting and soften the blow that you’re playing as a lesser-known family in the great big mix of things. Still, even on newer consoles, the gameplay is glitchy, with it chugging along from scene to scene, textures are slow to load in, and character models occasionally vanish from scenes without warning.

Telltale has certainly changed the point-and-click genre to a more modern, easy-to-swallow sort of experience, the kind that just about anyone can play–but it’s not for me. I want more interaction, more noggin using. I hate to say it, but this is exactly the sort of game I’m okay watching someone else play and then move on. I’m glad this first episode was free, but I’m also worried about how The Wolf Among Us and Tales from the Borderlands unfold. In my heart, they are all the same, and walking away from this company’s future output is one of the harder choices thrown before me as there’s a lot of like about the franchises they handle. Thank goodness there’s no timer.

Autumn, the season of mists and mellow fruitfulness, has arrived in Stardew Valley

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I want to play Stardew Valley all the time, but I don’t have all the time to play Stardew Valley. Yup, it’s a double-edged sword. Or perhaps a tilling grub hoe would work better in this instance. Anyways, I’ll do my best to explain.

Stardew Valley is capable of devouring hours of your life. In your mind, you might think that this is the sort of game you can sit down and play for a little bit and then stop. That is false. Oh so wrong. It is amazingly difficult, at least for me, to not continue into a new day after the rooster crows and I check the TV for the weather report, my fortune, and if any new kitchen recipes are available to learn. I don’t even have a kitchen yet. If I step outside my house, it is inevitable that I’ll see something that needs my attention, whether there is a letter in the mailbox or crops to harvest or just the fact that my kitty cat’s bowl is empty. Unlike Animal Crossing: New Leaf, where a day in-game was identical time-wise to a day of real life, one could play a number of in-game Stardew Valley days over the course of a few hours. With so many things to do, it’s easy to lose yourself in your pixelated farm.

I won’t go into much detail about how Stardew Valley plays, as I think I covered most of it in my last post. In terms of progress on Perdido Farm, I just finished the summer season of my first year in Pelican Town, and autumn is now working its magic spell on me. Falling leaves and swirls of reds, oranges, and yellows–it really is the best season, and I’ll hear no other argument about it. I’m excited to grow some fall-only crops, which will help in my progress to upgrade the community center. Bring on all the gourds and stalks of corn and weird, other worldly mushrooms. I should also begin preparing for the winter, which is most likely a season where you can’t grow a ton of crops. Hmm.

However, I’d really like to talk layouts today. I’m terrible at them, as well as terrible about planning ahead. This is definitely the case in Stardew Valley, but I’ve also run into the same problem in games like Terraria, Minecraft, and Fallout 4. You’re given all these elaborate and open-ended tools to create things–farms, houses, settlements, etc.–and then it is up to you to either get creative or smartly efficient. In fact, my favorite update to Minecraft was when they added in NPC-occupied villages, so that I never had to worry about constructing a functional house for myself. The answer is always squatting, I guess. I mean, I’m okay on the creative side of things, and if you don’t believe me please come over to my house in Fallout 4‘s Diamond City to see how many paintings of cats I was able to hang up on the walls.

Unfortunately, went it comes to farms, efficiency is key. Sure, there’s merit in being creative and laying everything out in an eye-pleasing, organized manner, but you need to place a greater emphasis on ensuring your crops grow and can be cared for with ease. For Perdido Farm, this is not the case. I just sort of dug up the ground directly in front of my house, built some stone paths around it, and threw scarecrows and sprinklers in probably not the best spots because…well, I got the items and wanted to immediately place them into action without pausing to think for a split second where they could best be used. And now I feel somewhat stuck in what I’ve started, as it can be dangerous to unearth some of the items you placed and replace them. If I was better at all this, I’d have planned out my farm from day one and created something much more effective. I mean, look at some of these things.

Perhaps this is something I can focus on in the winter, in preparation for an even better spring harvest. Y’know, when I’m, at the same time, trying to worm my way into Maru‘s heart, of which, I am currently rocking four hearts with her. Also, if you are curious where that nifty turn of phrase in this blog’s title came from, check out the poem “Ode to Autumn” by John Keats.