I have played all chapters through 13 offline and have had no issues until trying to play Chapter 14. It now gives me the "you have not played the previous chapter download here" message, though I have. I did just upgrade to Windows 10, might be the issue but don't see how since games are saved on portable hard drive. Either way how do you implement the backup files as provided in the OP? Which folder do I put them in to execute.
Backup files are for the online version only. Does it still recognise that you played previous chapters? (try 12 and 13). Also please make sure you completed chapter 13 all the way.
So, I was interested in the "kerfuffle" surrounding Amanda, and had a read through the last few pages.
Ow. Some of it gets really ummmm ... heated.
Which suggests this game was and/or is far more engaging, and meaningful, for a lot of players than most games.
Those infuriated, dismayed, disgusted, esp. by the turn in Amanda's behavior look as if they really took to the game in the past. To fall out of love that hard, indicates the passion was strong, ... and perhaps still is (if not so positively inclined).
Thoughts, FWTW:
A high degree of psychological health and consistency seem demanded of Amanda.
Maybe higher than of people in real life?
But:
1) the emotional appeal, pull/suspense/wrench of DRAMA on public audiences has - since culture began - depended on serious imperfection, or worse: disjointed personal failings, deceived and/or self-blinding (massive) irrationality, of key characters in action.
Even of the (otherwise) most attractive, noblest or best: > "hamartia" in Ancient Greek tragedy.
2) if Amanda (and the others too) were wise, all-seeing, all-knowing creatures, perhaps there might not be this or many other storylines. ~ Gripping drama needs mistakes and serious, even catastrophic misperceptions. Intense fallouts, sudden coldness, intrigues and bewilderments, strange bedfellows, unexplained behavior ... are, at least, a dramatically necessary device.
3) But is the change in Amanda going too far? Is it impossible to allow any motivation, explanation or excuse for it? I dunno!
To pitch in, I think the behavior of a couple of other characters is weirder than Amanda's by Ch12-14:
a) Our MC.
Agrees to accompany the Flesh-Blood Goddess Known As Heidi to her party as a "boyfriend" ... then tells all & sundry, interrupting them as they marvel how this is the first time ever any guy has had the honor of that girl's invitation to this event that (I will quote approximately) he hardly even knows the bitch - which must really help Heidi out - and, you've got to agree, justifies her choice of him 100%, eh?
Then, to remedy matters, he promptly skips behind the bar, and pretty much has the woman all over that bar while she's trying desperately to recover the reputation for solid reliability he's been busy trashing.
A "seduction" that she takes "in good part" (if you excuse the expression), but still...
Plus, he then ignores the neon-lit message she sends him in response to why the hell she invited him anyway (i.e. that she's head-over-heels in love with him), treating her like a mixture of a pain-in-the-ass and an easy lay, who might just be passing on info to Sausage-Chops.)
Asshole territory!
And worse, if possible: he's dying (almost literally, if Mortadella-Face has anything to do with it) to know what the hell's up with his PA/daughter/Friend/colleague/stepdaughter... whatever Amanda is .... why she's plotting his doom, so up he goes, pins her up against the wall and has his wicked way with her. Which she begins to agree to, but ... apart from the brutality of approach, maybe not the guaranteed or sensible way to get her to open up on what's eating her (... apart possibly from his mouth).
"Men"? Or just more asshole?
b) If the MC is an oddball (well ok, MC's ultra-paranoid by this stage, so mitigating circs perhaps), our detective is off the scale.
He acts more like a corrupt PI than even a half-bad cop - pulling a gun on a guy who wangles his way into the office, acting like a total "dick" about a toaster, moonlighting his dubious services to an aunt with a story and Saul the sleazeball ... and all the rest of his "irregular" (corrupt) methods ...
Any self-respecting PD (or even a crooked one, that didn't want the shit to hit its fan PDQ) would shoot that slimy lardass off the force faster than he could take a dump. - Admittedly, that's not saying much ....
I mean, it adds to the fun, and the drama, but those two guys are head-shakers by Ch12-14, way beyond the emotionally sensitive, still suggestible, mother-less Mandy.
As may be obvious, I really like the game. Characterization, complete with all flaws and hiatuses, actions, dialogs, suspense, sex encounters, humor, CGI .....
Have to say the life-loving, slinky and amazingly well-grounded, strangely ever-upbeat Kathy is great; Heidi is the pearl, ruby and diamond of the piece. Savvy, sexy, clever, foxy, practically minded, honest and straightforward for all her sensuality, monstrously attractive, voluptuous, no-nonsense but generous-spirited, good with her hands in every sense, feet firmly on the ground unless she chooses to have them in the air.
The virtual sentimentalist in me hopes those two at least find a good ending, and live - what's the phrase? - happily ever after.
Even if the rest end in carnage like Dynasty, or the OK Corral (& its still seething aftermath, many years after).
Ow. Some of it gets really ummmm ... heated.
Which suggests this game was and/or is far more engaging, and meaningful, for a lot of players than most games.
Those infuriated, dismayed, disgusted, esp. by the turn in Amanda's behavior look as if they really took to the game in the past. To fall out of love that hard, indicates the passion was strong, ... and perhaps still is (if not so positively inclined).
Thoughts, FWTW:
A high degree of psychological health and consistency seem demanded of Amanda.
Maybe higher than of people in real life?
But:
1) the emotional appeal, pull/suspense/wrench of DRAMA on public audiences has - since culture began - depended on serious imperfection, or worse: disjointed personal failings, deceived and/or self-blinding (massive) irrationality, of key characters in action.
Even of the (otherwise) most attractive, noblest or best: > "hamartia" in Ancient Greek tragedy.
2) if Amanda (and the others too) were wise, all-seeing, all-knowing creatures, perhaps there might not be this or many other storylines. ~ Gripping drama needs mistakes and serious, even catastrophic misperceptions. Intense fallouts, sudden coldness, intrigues and bewilderments, strange bedfellows, unexplained behavior ... are, at least, a dramatically necessary device.
3) But is the change in Amanda going too far? Is it impossible to allow any motivation, explanation or excuse for it? I dunno!
To pitch in, I think the behavior of a couple of other characters is weirder than Amanda's by Ch12-14:
a) Our MC.
Agrees to accompany the Flesh-Blood Goddess Known As Heidi to her party as a "boyfriend" ... then tells all & sundry, interrupting them as they marvel how this is the first time ever any guy has had the honor of that girl's invitation to this event that (I will quote approximately
) he hardly even knows the bitch - which must really help Heidi out - and, you've got to agree, justifies her choice of him 100%, eh?Then, to remedy matters, he promptly skips behind the bar, and pretty much has the woman all over that bar while she's trying desperately to recover the reputation for solid reliability he's been busy trashing.
A "seduction" that she takes "in good part" (if you excuse the expression), but still...
Plus, he then ignores the neon-lit message she sends him in response to why the hell she invited him anyway (i.e. that she's head-over-heels in love with him), treating her like a mixture of a pain-in-the-ass and an easy lay, who might just be passing on info to Sausage-Chops.)
Asshole territory!
And worse, if possible: he's dying (almost literally, if Mortadella-Face has anything to do with it) to know what the hell's up with his PA/daughter/Friend/colleague/stepdaughter... whatever Amanda is .... why she's plotting his doom, so up he goes, pins her up against the wall and has his wicked way with her. Which she begins to agree to, but ... apart from the brutality of approach, maybe not the guaranteed or sensible way to get her to open up on what's eating her (... apart possibly from his mouth).
"Men"? Or just more asshole?
b) If the MC is an oddball (well ok, MC's ultra-paranoid by this stage, so mitigating circs perhaps), our detective is off the scale.
He acts more like a corrupt PI than even a half-bad cop - pulling a gun on a guy who wangles his way into the office, acting like a total "dick" about a toaster, moonlighting his dubious services to an aunt with a story and Saul the sleazeball ... and all the rest of his "irregular" (corrupt) methods ...
Any self-respecting PD (or even a crooked one, that didn't want the shit to hit its fan PDQ) would shoot that slimy lardass off the force faster than he could take a dump. - Admittedly, that's not saying much ....
I mean, it adds to the fun, and the drama, but those two guys are head-shakers by Ch12-14, way beyond the emotionally sensitive, still suggestible, mother-less Mandy.
As may be obvious, I really like the game. Characterization, complete with all flaws and hiatuses, actions, dialogs, suspense, sex encounters, humor, CGI .....
Have to say the life-loving, slinky and amazingly well-grounded, strangely ever-upbeat Kathy is great; Heidi is the pearl, ruby and diamond of the piece. Savvy, sexy, clever, foxy, practically minded, honest and straightforward for all her sensuality, monstrously attractive, voluptuous, no-nonsense but generous-spirited, good with her hands in every sense, feet firmly on the ground unless she chooses to have them in the air.
The virtual sentimentalist in me hopes those two at least find a good ending, and live - what's the phrase? - happily ever after.
Even if the rest end in carnage like Dynasty, or the OK Corral (& its still seething aftermath, many years after).
- Nov 22, 2018
- 1,201
- 2,086
Your right about Amanda going to far and I believe the writing team underestimated how hooked the players became to her initial characterization as the sweet, loyal romantic lead that when she does a 180 your left with just anger and wtf is happening feeling.So, I was interested in the "kerfuffle" surrounding Amanda, and had a read through the last few pages.
Ow. Some of it gets really ummmm ... heated.
Which suggests this game was and/or is far more engaging, and meaningful, for a lot of players than most games.
Those infuriated, dismayed, disgusted, esp. by the turn in Amanda's behavior look as if they really took to the game in the past. To fall out of love that hard, indicates the passion was strong, ... and perhaps still is (if not so positively inclined).
Thoughts, FWTW:
A high degree of psychological health and consistency seem demanded of Amanda.
Maybe higher than of people in real life?
But:
1) the emotional appeal, pull/suspense/wrench of DRAMA on public audiences has - since culture began - depended on serious imperfection, or worse: disjointed personal failings, deceived and/or self-blinding (massive) irrationality, of key characters in action.
Even of the (otherwise) most attractive, noblest or best: > "hamartia" in Ancient Greek tragedy.
2) if Amanda (and the others too) were wise, all-seeing, all-knowing creatures, perhaps there might not be this or many other storylines. ~ Gripping drama needs mistakes and serious, even catastrophic misperceptions. Intense fallouts, sudden coldness, intrigues and bewilderments, strange bedfellows, unexplained behavior ... are, at least, a dramatically necessary device.
3) But is the change in Amanda going too far? Is it impossible to allow any motivation, explanation or excuse for it? I dunno!
To pitch in, I think the behavior of a couple of other characters is weirder than Amanda's by Ch12-14:
a) Our MC.
Agrees to accompany the Flesh-Blood Goddess Known As Heidi to her party as a "boyfriend" ... then tells all & sundry, interrupting them as they marvel how this is the first time ever any guy has had the honor of that girl's invitation to this event that (I will quote approximately
Then, to remedy matters, he promptly skips behind the bar, and pretty much has the woman all over that bar while she's trying desperately to recover the reputation for solid reliability he's been busy trashing.
A "seduction" that she takes "in good part" (if you excuse the expression), but still...
Plus, he then ignores the neon-lit message she sends him in response to why the hell she invited him anyway (i.e. that she's head-over-heels in love with him), treating her like a mixture of a pain-in-the-ass and an easy lay, who might just be passing on info to Sausage-Chops.)
Asshole territory!
And worse, if possible: he's dying (almost literally, if Mortadella-Face has anything to do with it) to know what the hell's up with his PA/daughter/Friend/colleague/stepdaughter... whatever Amanda is .... why she's plotting his doom, so up he goes, pins her up against the wall and has his wicked way with her. Which she begins to agree to, but ... apart from the brutality of approach, maybe not the guaranteed or sensible way to get her to open up on what's eating her (... apart possibly from his mouth).
"Men"? Or just more asshole?
b) If the MC is an oddball (well ok, MC's ultra-paranoid by this stage, so mitigating circs perhaps), our detective is off the scale.
He acts more like a corrupt PI than even a half-bad cop - pulling a gun on a guy who wangles his way into the office, acting like a total "dick" about a toaster, moonlighting his dubious services to an aunt with a story and Saul the sleazeball ... and all the rest of his "irregular" (corrupt) methods ...
Any self-respecting PD (or even a crooked one, that didn't want the shit to hit its fan PDQ) would shoot that slimy lardass off the force faster than he could take a dump. - Admittedly, that's not saying much ....
I mean, it adds to the fun, and the drama, but those two guys are head-shakers by Ch12-14, way beyond the emotionally sensitive, still suggestible, mother-less Mandy.
As may be obvious, I really like the game. Characterization, complete with all flaws and hiatuses, actions, dialogs, suspense, sex encounters, humor, CGI .....
Have to say the life-loving, slinky and amazingly well-grounded, strangely ever-upbeat Kathy is great; Heidi is the pearl, ruby and diamond of the piece. Savvy, sexy, clever, foxy, practically minded, honest and straightforward for all her sensuality, monstrously attractive, voluptuous, no-nonsense but generous-spirited, good with her hands in every sense, feet firmly on the ground unless she chooses to have them in the air.
The virtual sentimentalist in me hopes those two at least find a good ending, and live - what's the phrase? - happily ever after.
Even if the rest end in carnage like Dynasty, or the OK Corral (& its still seething aftermath, many years after).
I know Palmer has said just wait for the story to play out but maybe he doesnt realize the beans have been spilled already and its just not enough to warrant the character assasination Amanda received with a flawed "plot twist".
But im 100% behind you on the other girls being far better options for the MC (even if he is kinda asshole...ish with them). You know what there about and who they are, like we thought we knew who Amanda was... Heidi is the ideal match as she is independent, hot, smart and knows what she wants. Kathy is also better suited for the MC even if she is a bit aloof but you know that going in.
But does *the MC* know that ... errrm, "going in"?
Actually ...
(we're talking of fictional characters I know, but ....)
... I don't find Kathy *aloof* at all.
A bit "spacy" yes, - drugs to combat deep anxieties she is desperate not to show (or admit to herself?), preferring to appear supremely in control always - and with a lot of the *dreamer* about her, a bright artist-type temperament that sustains and no doubt also frustrates her - but she's never been cold, that I've noticed. Or given anyone the cold shoulder, that I can recall. Even when down, worried, or wiped out, she's "fully human".
In fact, a teasing sort of "come on - out with it - tell me!" approach to friends - and an upbeat, glad-to-smile, wherever possible generous spirit in adversity (without being naive about it), and also a practical hands-on approach to getting things done, Kathy quickly learning new challenges, Heidi already knowing how to do stuff - are all part of what set those twoi apart from the rest.
Also, their room-brightening presence (and smouldering sexuality), of course. And ... their curves, to be blunt. Kathy still the slightly awkward younger one, looking for her way in life, bluffing at times, panicking at times. Heidi in the full bloom of active young womanhood, knowing herself well, and usually sizing people up fairly, with no BS.
But then, I'm biased. K is a good creation. H is a great creation.
Actually ...
(we're talking of fictional characters I know, but
....)... I don't find Kathy *aloof* at all.
A bit "spacy" yes, - drugs to combat deep anxieties she is desperate not to show (or admit to herself?), preferring to appear supremely in control always - and with a lot of the *dreamer* about her, a bright artist-type temperament that sustains and no doubt also frustrates her - but she's never been cold, that I've noticed. Or given anyone the cold shoulder, that I can recall. Even when down, worried, or wiped out, she's "fully human".
In fact, a teasing sort of "come on - out with it - tell me!" approach to friends - and an upbeat, glad-to-smile, wherever possible generous spirit in adversity (without being naive about it), and also a practical hands-on approach to getting things done, Kathy quickly learning new challenges, Heidi already knowing how to do stuff - are all part of what set those twoi apart from the rest.
Also, their room-brightening presence (and smouldering sexuality), of course. And ... their curves, to be blunt. Kathy still the slightly awkward younger one, looking for her way in life, bluffing at times, panicking at times. Heidi in the full bloom of active young womanhood, knowing herself well, and usually sizing people up fairly, with no BS.
But then, I'm biased. K is a good creation. H is a great creation.
- Nov 22, 2018
- 1,201
- 2,086
Perhaps aloof wasnt the right word in hindsight but I think we are both in agreement that Heidi and Kathy are the cream of the crop as far as love interests in this gameBut does *the MC* know that ... errrm, "going in"?
Actually ...
(we're talking of fictional characters I know, but
... I don't find Kathy *aloof* at all.
A bit "spacy" yes, - drugs to combat deep anxieties she is desperate not to show (or admit to herself?), preferring to appear supremely in control always - and with a lot of the *dreamer* about her, a bright artist-type temperament that sustains and no doubt also frustrates her - but she's never been cold, that I've noticed. Or given anyone the cold shoulder, that I can recall. Even when down, worried, or wiped out, she's "fully human".
In fact, a teasing sort of "come on - out with it - tell me!" approach to friends - and an upbeat, glad-to-smile, wherever possible generous spirit in adversity (without being naive about it), and also a practical hands-on approach to getting things done, Kathy quickly learning new challenges, Heidi already knowing how to do stuff - are all part of what set those twoi apart from the rest.
Also, their room-brightening presence (and smouldering sexuality), of course. And ... their curves, to be blunt. Kathy still the slightly awkward younger one, looking for her way in life, bluffing at times, panicking at times. Heidi in the full bloom of active young womanhood, knowing herself well, and usually sizing people up fairly, with no BS.
But then, I'm biased. K is a good creation. H is a great creation.
- Aug 22, 2018
- 25,249
- 86,501
You got half of it right.Perhaps aloof wasnt the right word in hindsight but I think we are both in agreement that Heidi and Kathy are the cream of the crop as far as love interests in this game
No idea why you would put Heidi's name in the same sentence as the goddess but it's okay, you didn't know better.
Kathy is the one true love.
- Nov 22, 2018
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- 2,086
- Sep 19, 2018
- 1,207
- 1,665
- May 28, 2017
- 2,278
- 13,070
On one hand, I have faith that Palmer's writing team has a plan in place that will redeem Amanda and will allow Palmer to escape the corner he's painted himself into.
But on the other hand, no matter what that plan might be, I feel it's just too late to "fix". The Amanda of the last couple of updates is simply not the character committed to saving her dad's diner or the Amanda on the road trip to fix the jukebox. More importantly, she's no longer the daughter secretly writing erotic fiction about herself and her dad, confronting the conflict of those secret lustful feelings.
So even if it's all an act or some shrewd ploy to fool the aunt--even if she's acting in the father's best interests this whole time but for some reason can't let him know (and that's the best case scenario, right?!)--it's too late in my opinion. Amanda has become a character I have no interest in "saving." She became actively unlikable. Let Amanda go with the wicked witch and give me Heidi or Kathy (kinda bummed we couldn't have both haha).
I'd love it if Palmer proved me wrong! Maybe when the entire story is concluded, I can play it through all over again from beginning to end without the wait between episodes and the arc of Amanda's character will make sense. But she's spoiled, and you can never get that back.
But on the other hand, no matter what that plan might be, I feel it's just too late to "fix". The Amanda of the last couple of updates is simply not the character committed to saving her dad's diner or the Amanda on the road trip to fix the jukebox. More importantly, she's no longer the daughter secretly writing erotic fiction about herself and her dad, confronting the conflict of those secret lustful feelings.
So even if it's all an act or some shrewd ploy to fool the aunt--even if she's acting in the father's best interests this whole time but for some reason can't let him know (and that's the best case scenario, right?!)--it's too late in my opinion. Amanda has become a character I have no interest in "saving." She became actively unlikable. Let Amanda go with the wicked witch and give me Heidi or Kathy (kinda bummed we couldn't have both haha).
I'd love it if Palmer proved me wrong! Maybe when the entire story is concluded, I can play it through all over again from beginning to end without the wait between episodes and the arc of Amanda's character will make sense. But she's spoiled, and you can never get that back.
- Aug 22, 2018
- 25,249
- 86,501
That's what we've been saying.
It's a situation there is no way out of. For some of us, Amanda has become unlikable. There is no way out of this for her, she's acted in a way that has put some of us off and i've got no interest in seeing her get a happy ending. She's too immature and needs to go away to grow up before she even considers that kind of relationship. She can't handle it.
- May 28, 2017
- 2,278
- 13,070
Yea, I realize I'm late to this discussion. I played chapter 16 right when it was released and was like WTF? and asked @Palmer directly about it and he was just like "You'll find out in the next episodes wink wink." I was just trying to explain that even though I really do think he and his team are talented enough to make her turn logical and authentic to her character, I'm afraid it won't even matter because while Amanda is off being lame KATHY IS RIGHT THERE!
I've been trying not to think about it, but his preview for Summer School got me onto this thread again and I had to say my piece.
- Sep 30, 2018
- 3,402
- 8,845
Amanda was always unlikable, the real reasons that kept me and probably a lot other people playing are the other girls.
- Apr 12, 2018
- 227
- 433
I don't think anyone is demanding a high degree of psychological health. I could understand if she was 'rocked' by a revelation that the story of her parents wasn't what she'd been led to believe. What doesn't make sense is how quick she takes to the alternative, especially given that her father is the only parent she's ever known and someone she has sexual feelings for, strong enough that she'd write and post stories about them on the internet.
Maybe she would back off and try and assess the situation, but it's not just her actions. Her words are cold and have no warmth or care. She doesn't come across as conflicted, which is what Palmer wanted to convey. The only indicator to the contrary is the sex scene, but it's timing and placement within the story make it seem forced. I think it would have been better if it'd happened earlier, like when they went to separate bedrooms, maybe she crawls back into bed with him, they have sex but when he wakes shes gone again. That kind of scene might have indicated that she was struggling between what she was being told verses what she felt.
Honestly, I think Palmer and the writers got a good idea but got a bit too trigger happy in executing it. Again, we're not demanding a high degree of psychological health, we're lamenting the fact that the writing doesn't give us a clear indication of what her psychological health really is.
Amanda can have flaws. She doesn't have to be perfect. But you also can't suddenly begin a new chapter and declare 'character x has the sin of pride' if they haven't been arrogant or self-involved before. If anything, Amanda's fatal flaw would be her loyalty, at least until recently, considering she gives up a lot to stay with her father and build the business back up.
No they're not. Plot devices are simply tools you use to build a story, but they still have to make sense within the context of the story. In other words, it doesn't matter how much you hammer in a nail if you should be using a drill and screw, at someone point what you've built is going to fall apart because you didn't use the right tool for the job.
I may come across as really pissed about this, but honestly it's just disappointing because I did feel that the story was previously well written, and this just feels like a major misstep. @fauxplayer suggests that maybe it's all an act, which might be the only way I could buy the sudden change, but even then I still feel that there should be more conflict within her actions, that she should want to tell him everything, but knows its in his best interests to keep him in the dark. It also puts the MC in a passive, rather than active state, and in fact I'm starting to wonder if this story should have been from Amanda's point of view all along. I know then we wouldn't get to fuck Heidi or Kathy, but it's really starting to seem that Amanda is the MC making all the decisions that we just seem to be orbiting around.
- Aug 22, 2018
- 25,249
- 86,501
I will say that I did like Amanda as a character originally but Kathy was always the girl I had more interest in getting to know romantically.
Stories like this will always run into this problem. The dev has one story to tell however people reading will have a preference on the characters they want to see more of.
Games that push you towards one outcome will always get backlash by those wanting one of the other characters, it's why I think if you want one girl to be the focus you need to severely limit the interactions with other girls. Everyone has different tastes and we'll never agree on who a main character should end up with.
Were that the choice here then mine would end up with Kathy, some with Heidi, some with Lily, some with V, one with Moe and some with Amanda.
This seems to be heading towards an Amanda ending which is going to put some people off but, as I said, it's the devs story to tell and we are along for the ride.
My issue here is less with the story line of Amanda's aunt and more that Amanda has shown a side to her that I don't like in anyone be it in games or IRL. That's not Palmers fault, it's on me. That and I already had a bias towards Kathy so now I don't like Amanda and have a preference for Kathy but the dev still has his own story to tell which isn't to cater to my personal tastes.
I probably should have stopped playing when things started happening that grated on my nerves but Kathy is a goddess and Heidi is awesome so while some things may irritate me, those 2 are more than enough to carry the game on their own merit.
- Sep 30, 2018
- 3,402
- 8,845
I didn't really like Amanda from the start, i can't even really say why because its quiet a while ago that i've started playing the game, but her behaviour in the last episodes was just the final thing for me to really outright dislike her. Probably because i dislike people like this IRL too.
I'm not blaming the Dev for telling the story how he wants to tell it because its like you said we are just joining the ride and i agree that everyone has a different taste when it comes to the person the MC should end up with. Thats why many games have different options and i can only hope that the Dev will give us the option too, but i think we will end up with Amanda anyway because everything hints torwards this outcome.
- Jun 30, 2018
- 2,799
- 3,429
Yeah, maybe the problem is implementation and timing. I mean we went from a passionate office scene to cold shoulder in one chapter without any explanation. Or, to quote the great Lionel Richie: "What is happening here? Something's going on that's not quite clear..."
Nobody expects an instant resolution, but I find it quite ridiculous that the game has been treading water ever since with cryptic allusions to what the player / MC has done wrong when there is no chance in hell to figure it out because there is nothing in the game that gives any hint WTF is going on. A situation that will last for around 5 months since it spans several updates. With a throwaway sex scene in there to tide you over and make you think it might be okay, but which pales since you already had a threesome with two characters that are not in the doghouse elsewhere.
There are games out there in which the player actually is the evil one without knowing, but they don't usually go from happy go lucky to down in the dumps without warning from one chapter to the other.
At least, in one example of trivial literature, Ben Aaronovitch provided one of his characters with a possible reason and explanations why
Nobody expects an instant resolution, but I find it quite ridiculous that the game has been treading water ever since with cryptic allusions to what the player / MC has done wrong when there is no chance in hell to figure it out because there is nothing in the game that gives any hint WTF is going on. A situation that will last for around 5 months since it spans several updates. With a throwaway sex scene in there to tide you over and make you think it might be okay, but which pales since you already had a threesome with two characters that are not in the doghouse elsewhere.
There are games out there in which the player actually is the evil one without knowing, but they don't usually go from happy go lucky to down in the dumps without warning from one chapter to the other.
At least, in one example of trivial literature, Ben Aaronovitch provided one of his characters with a possible reason and explanations why
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gml_Object_oNoChapterData_Mouse_7 (line -1)
happend,in,chap,5,at,start,sombody,please,help
Good, thoughtful, comprehensive point of view, and I take your point/s on most of it. But, I think, your last paragraph does bear out in some way my suggestion that "falling out of love" (with a game, in this case) can mean, can lead to greater vehemence.
And yes, I put a different view, also personal. With a certain helping of hyperbole (the Greek-tragedy point about fatal flaws in heroes - I said hamartia, not hybris/hubris, by the way, I wasn't getting at a sin of overbearing pride, but rather, the tragedy of selective blindness!). But, maybe my minor hamartia in this case, I still get an impression from the action of the story - from her own behaviors above all - that Amanda is stuck in more turmoil than she shows, or wants to show. So, a sort of shutdown, emotional gridlock. If so, the "closed fridge front" aspect of her actions would not be simple cruelty, or even a logical choice. (Definitely not a Mr-Spock-logical choice. Maybe not logical enough, even by non-Vulcan standards, but hey ...)
(I'm not sure if the sex scene can be taken to suggest a melting of the greater tundra, btw. As regrettably may happen in IRL, it may in certain circs be a big physical release of tensions, laughing, joking, etc,. but not necessarily a freeing-up of heartfelt love and unconditional affection, honest reconciliation between the two, or any sort of liberation from problems inside (See e.g. RD Laing.) Meaning: f***ing doesn't have to plunge to the depths of "hate sex" or "revenge sex" to burst out .... but leave deeper emotions and concerns covered, locked up. Possibly even exacerbate locked inner conflicts, once the body cools down. Sex can be ... odd that way. ~ btw: What you require of Amanda, you might also require of our MC, no? He's not exactly a generous chatterbox after the dirty deed. He prefers to gabble away to us, rather than unpushily ask Amanda - please, for both their sakes, etc - to explain what it's all about.)
But we can perhaps agree to differ - slightly rather than massively, if I've understood your point(s) right ....
And anyway, as others have proposed, it's the way Palmer wishes to spin it, so .... hey.
And second, it's fiction, so maybe we shouldn't ask for too much answerability from characters, too much emotional logic. Yes, by all means be dissatisfied. dismayed, if our own code of rationality, basic sense of psychology (or even decency), and/or requirement of seamless plausible characterization in stories is offended.
But mebbe there's some gap there. Between one and another.
Or to quote another song:
"There must be some way out of here!"
- Said the joker to the thief ...