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episode 121 - Toni Lesatz: MyBookAddiction

This week, we chat with writer, gamer, blogger, and mom, Toni Lesatz from My Book addiction. We have a great chat about writing, gaming, and website promotions. 


Sewer Shark
Into the Dead
Zombie Gunship

For Toni Lesatz: MyBookAddiction



Blood Sucking Fiends by Christopher Moore
Odd Thomas: An Odd Thomas Novel
 by Dean Koontz
Extra Credit by Nina Post


Me Talk Pretty One Day by David Sedaris 
Moon Called
 by Patricia Briggs
Donners of the Dead by Karina Halle


The Great Gatsby by F. Scott Fitzgerald
Life of Pi
by Yann Martel
Chasing the Star Garden by Melanie Karsak

Until next time, game on! 
Regina & Rhonda 

Episode 121


Continue?: Bullies, Video Games and the Concept of an Extra Life (Part I)

Author's Note - This series of essays discusses the tribulations I faced as a child and teenager in very explicit detail, and is extremely personal. However, it was very therapeutic to write, and while there are some embarrassing revelations about my youth in the piece, I feel that it is still worth sharing. Also keep in mind that I am not censoring anything that happened to me, so there are very harsh words in this text. For that reason, I will place this behind a jump. I have added images, including some original art I made in Photoshop in high school that, in retrospect, suggest the duality of lives I discuss in the essay was a prevalent thought even back then.

Click to read more ...


Review: Divinity: Original Sin

Recently I received a gift of Divine Divinity and Divinity: Original Sin on Steam as a belated birthday gift from one of my best friends, David. He had been keeping watch on Divinity: Original Sin while it had been in development and thought I might like it. I had never heard of the series nor its creator Larian Studios, but I was willing to give it a go.

Divinity: Original Sin is a top down, third person, isometric view RPG. Think of the way the Diablo series looks and you get the idea. However, the game play has very little in common with the Diablo series.

First things first. The character creation.

Character creation is interesting because you start by making two characters. The appearance editor is okay. It has a several options for both male and female characters, but nothing really to write home about. However, the class or abilities portion of the editor is where it shines. Yes, you have 11 classes to choose from, but each of these can be modified by the player during creation. Playing a Wayfarer but don't want the Pet Pal talent? Change it to something you feel will be more useful. The only part of the editor I took issue with was the character portraits. Despite there being many, I really felt like it was still too easy to come up with an appearance for your character that didn't have an analogue in the portrait selection.

The visuals and audio for the game are both well done. The maps and general animation are on par for this style of game, but the spell and particle effects really kick it up a notch. Some areas you walk through will have seeds and leaves blowing by your field of view, making the game feel more alive and further immersing you in the game. The sound track for Divinity: Original Sin is truly top notch. Normally I tend to turn music way down or off in games because often times I find it jarring and that it doesn't fit the mood of the game. Not so in this case. The first time I heard the theme music at the beginning of the game I was hooked. And the music in the game is no different. It just sounds great and works.

Looks like you passed out around a lot of combustibles, little goblins.

Where Divinity really shines for me is the feel of the game play. I have never played an RPG video game that feels so close to playing a pen and paper RPG, ever. The game doesn't spoon feed you your quest information or where to go. You have to spend time conversing with NPCs and looking for clues. For the most part I really like this, but there have been a few times now where I've missed a vital clue or it just seemed there wasn't one.

The combat also feels like a table top RPG too. When out of combat you just roam around at your leisure, but once you go into combat it goes to an initiative based turn system like most pen and paper RPGs. Once in a fight you rely on action points to determine your movement and what attacks or actions you can take. This might not sound very interesting, but believe me when I say that the combat in this game is some of the best turn based combat I’ve ever experienced in any game. There is so much that goes into an encounter that it's really hard to describe it with out writing a small book, but i'll touch on one of the coolest parts; that being the area effects. With your elemental attacks as a magic user or a ranged attacker, you can set the field on fire to burn anything coming at you. Fire isn't working? Cast a rain spell to douse the fire and create steam clouds which you can then hit with lightning to electrify. This is just one example of many.

My only real issue with Divinity: Original Sin is also one of its strengths. The conversation. On one hand you have these great moments of dialogue between your two main characters that can reveal a lot about their personalities and back story and reward you with in game bonuses. On the other hand dialogue with random citizens is the same thing over and over. I would have preferred that there be no conversation option with the background players because they all pretty much have the same dialogue options which tend to be pretty jarring and pulls me out of the immersion of the game.

Divinity: Original Sin in a very well done RPG. I think for true fans of the genre it's a game well worth owning and playing over and over again. If you are hoping for another Diablo clone or something hack n' slash, don't bother.


Remember the Athenians.


episode 120 - White Willow Films

We've got fantastic guests for the show this week. We chat with the directors and producers of “No Princess in the Castle,” Natalie Rossetti and Dave Danzara. “No Princess in the Castle” is “a new documentary on the lives of women in gaming who, against all odds, punched through the peripheral shadows and entered the gaming world center stage.”

Check out their website and both their gaming documentaries:

White Willow Films, LLC
"The Video Craze"
"No Princess in the Castle"



Regina: City of Bones by Cassandra Clare 
RhondaSaga, Volume 1, by Brian K. Vaughan (writer) and Fiona Staples (illustrator) 


Regina: East of Eden by John Steinbeck 
RhondaWorld War Z by Max Brooks 


Regina: Whiteman by Tony D'Souza 
RhondaTigana by Guy Gavriel Kay 

Until next time, game on! 
Regina & Rhonda 

Episode 120


Misogyny Missive: Lufia II: Rise of the Sexism

Selan's artwork doesn't really portray strength, but trust me: she can bring the hammer down.As I’ve mentioned before, I have a tendency to play as female characters in video games, if the option presents itself. I’m still searching for the exact motivation for me to do so, but I think I’ve recently come to one of the reasons: it allows me a glimpse into a perspective I don’t get to see as a male. Despite being a feminist and despite my zeal for equality among the sexes and genders, I am still shackled into male conformity in society. People who don’t know my beliefs often spout some sexist or stereotypically-gendered nonsense when talking to me, and it’s frustrating beyond words. Occasionally I slip into such garbage myself; an unfortunate side effect of growing up in this misogynistic culture. I hate it, but I can’t erase who I am in the real world.

I can, however, step into a virtual space and embrace different viewpoints: those of a woman primary among them. Oftentimes, this has its own burden: sexualized costumes or bouts with what is perceived as “feminine” can wreak havoc upon my experience. One such example of the latter was in Lufia II: Rise of the Sinistrals for the SNES. I had been enjoying the game quite a bit, but noticed some subtle sexism underlying the narrative. Some NPC’s made some disparaging comments about some character’s physical traits, or bluntly questioned the choice of female lead Selan as the general of the Parcelyte kingdom’s military. I shrugged those off, as Selan was an awesome character in battle and more than proved herself as a valuable component of my team. I gave her all of the strength bonuses I had floating around in my inventory, and they gave her a damage boost rivaling anyone else in my party. Alongside her array of spells, Selan was a force to be reckoned with in my playthrough. Her stoic personality was all about business; she got the job done, and she did it well. She too had her own doubts about her effectiveness as a leader, but she overcame them as she defended her kingdom from harm.

Alas, this empowerment was not to last. As a crucial plot point presented itself, Maxim (the male lead) made the chauvinistic choice to send Selan and Tia – another female character – away from the party. His logic is dubious and misogynistic: they would come to harm in the fights ahead, and only the men should go on to tackle this threat. I cringed as Selan and Tia suffered this indignant command and shirked away from playable status. I lost the two most valuable members of my team, and only because the narrative felt compelled to rely on the “weak woman” trope. Selan dealt more physical damage than Maxim or Guy by this point! Both Selan and Tia had magic spells capable of damaging entire rows of monsters; their replacements did not. Maxim was feebly gifted with some magic, but he alone could not carry the party’s HP burden. And, as much of a cliché as it is, Selan and Tia could heal the entire party and they could do it well. On top of that, Guy and Dekar were packed with overwrought machismo that was a bit sickening to bear. I tried tackling the tower that followed this roster switch, but I couldn’t stomach it. The challenge was too great without Selan and Tia -- the men proved ineffective at their task. I sold the game off after this; I had no desire to play it any further.

Games allow me to witness and feel these things women feel every single day: the doubt; the anxiety; the unfairness. It’s a perspective that grants me insight and motivation to do all I can to try to alter these misconceptions about gender in games. It’s disempowering in some ways, because I’ve seen these actions inflict so many narratives and cripple too many characters over the years. The industry has dug itself into a mighty rut. However, that doesn’t mean that things will never change. What I witness is what other like-minded people witness. And more and more of those people are becoming engaged and proactive. They’re creating games, criticizing faults through writing and other forms of media, and speaking out about the injustices. I’m proud to be counted among them.

As this feature progresses, I intend to point out these issues as they lurk in certain games, all in the hopes of countering against their use in the future. I hope you will join me in the endeavor and find your own voice and reasons to fight against misogyny in video games. Feel free to share yours in the comments!

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