Silmarillion Writers' Guild

Damn that title is a mouthful. One of many things that could have used a lot more work in this game. In VTMB2, you play as the Nomad, an Elder vampire recently awoken with a mysterious mark. For regrettable reasons, the Nomad chooses to go by the laughable name "Phyre" (pronounced "fire") in-game.

I went into this without any familiarity with the first game, which released in 2004, or the tabletop RPG on which the series is based. I first heard about VTMB2 years ago when it was just a flicker in the developers' eyes in Game Informer. It looked very cool! A customizable vampire character to run around Seattle and ally with various factions in a political fight? Sign me up!

Unfortunately the game is a real disappointment. I can't imagine how it must feel for fans of the original game to wait more than 20 years for this.

First, the game sells itself as an RPG, but there's very little of that, either on the combat or the narrative end. Your ability to customize Phyre is very limited--you can choose their gender, change up their hair a little, put some make-up and piercings on them, and change their outfits (the outfits, admittedly, are fun), but otherwise, Phyre is Phyre.

In terms of combat, you unlock the five powers associated with Phyre's clan pretty early in the game; you have the ability to unlock the other clans' powers too, but you can only ever equip four at a time, and none of them upgrade from where they start. Aside from one power I swapped, I kept my Phyre's original Brujah set equipped for the entire game.

You get various popups about how an NPC feels about what Phyre just said or did, but these ultimately have no impact. There are only a couple of late-game decisions that have any influence on the ending, and your relationships don't matter at all.
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This weekend I finished two books, the first of which was The Seep by Chana Porter, which has been on my TBR for years. In this book, Earth has been peacefully invaded by a parasitic alien which goes about solving all of Earth's problems in exchange for insight on what being human is like. 

If you're looking for a SFF book with heavy world-building, this is not it. Very little explanation is ever given about the Seep (the alien, not the book), how it works, how it got here, what its initial invasion was like. The practicalities of the Seep are not what this book is about; this book is about its protagonist, Trina, learning to live in a world where the Seep dominates everything, for better or worse.

The Seep itself could be an allegory for any number of things, but to me, it correlated strongly with modern technology, especially since the advent of AI, although the book was published in 2020, before AI hit the public market. The way Trina's misgivings about the Seep are brushed off as a sort of Ludditism, an old fogey being old (Trina is 50 for the better part of the book), the way even Trina acknowledges a lot of the good the Seep does but no one is willing to seriously discuss what's being lost, the way it has so quickly and totally seeped into every aspect of life on Earth so that those who choose to live without it are relegated to an isolated, ostracized community roundly mocked by everyone else. 

However, while the book starts off with something to say about Trina feeling lost, about being unwilling to give everything up to the Seep, it peters out at the end without anything really to say about Trina's society (and by extension, our own). It floats around the idea that friction in our lives is good--various characters admit, under pressure, that they miss some of the more difficult aspects of life before the Seep, perhaps the sense that accomplishments meant more when you really had to work for them. Now everyone does whatever they want and it's easy, everything's easy. It hints that Trina, who is trans, has some resentment about how easily people are able to modify their bodies now with the Seep--friends walk around with angel wings, cat ears, change gender by day of the week--while Trina had to fight so hard to become who she is and feels that struggle is part of what made her who she is. It makes salient points that part of freedom is the freedom to chose wrong (the Seep is fixated on keeping humans from any unhealthy behaviors, and Trina longs for the days when she could have a drink without the overwhelming sense of alien disapproval, or the chance to grieve as she wishes to without someone trying to fix it for her). It implies that immortality takes some of the meaning out of life, because part of what makes our experiences meaningful is knowing that we only have so much time for them.

Yet the climax lacks a follow-through to these premises, in my view. When a book starts off with such strong opinions, I expect it to conclude with a solution, a criticism, a proposal...something. But here, Trina makes her speech to the Seep about why each person's individual experience shapes them and why we're all unique, but she also returns to the fold of the same community she left before, which, I think, substantially failed her in her grief for her lost wife, and partakes in the social rituals they had been demanding of her. Her end feelings on the Seep aren't even clear. She just sort of...goes on with life as she was doing before her wife's departure. Which would be perfectly fine if the story was only about grief, but this one felt like it was about a lot more than that. 

I still think The Seep raises interesting, and very relevant in today's world, points, but I wish it did more with them in the end. However, the book is quite short, so I do still think it's worth the read.