Other games use possessions as an important part of how we interact with the world. In this we find the story of a world in panic, but also of the people's lives before everything went wrong. In The Last of Us we find people's notes and possessions abandoned. In Unpacking we spend hours placing and arranging someone's things, and as we do we get to know them (and their hopes, loves, losses and travels) deeply. Some games let us get to know characters solely through their possessions. In, we are given a prized camera and bird book from our grandparents to tell the story of their bond and trust. Games like The Sims or Animal Crossing enable us to use possessions to create spaces that reflect the character we are playing. The objects of our lives tell a story about who we are and what is happening to us. Favourite toys, carefully written letters, hurried notes, pictures on the walls, dilapidated architecture, menus, vehicles, ticket stubs. Games often use their character's possessions to tell us about them, as much as what they say or look like. Because we can explore the spaces where games happen, they can also tell stories by the things we find. This can be similar to books and films, offering snapshots, flashbacks and poignant scenes that form a life. As such, fighting the patriarchy is both hilarious and often poignant.Games tell stories about people and places. Your husband is a dolt, happy to let you “play” at being queen, while both you and the important nobles know that you’re the real power at court. That your rule is the result of marrying into a foreign kingdom is a pertinent factor in the storyline. There are many subtle nods to female oppression and societal restriction it’s clear that this kingdom is not tailored for a lady on the throne. The scope of the game and its interlinking choices are opened far wider, and thanks to some witty writing you’ll have a lot of fun trying to keep your head. Events and interactions are therefore subject to the whims of astrological fate, leaving the door open to a wealth of discovery as you stumble upon certain things that only happen - for instance - during the Age of Sagittarius. New characters and situations are revealed at a rapid pace, and the overarching narrative which previously relied on you making key decisions on certain years is here tied to the zodiac instead. Initially you may find yourself cycling through a few similar cards, but Nerial doesn’t let Her Majesty's gameplay become stale.
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As before, a series of objectives is unlocked as you play, along with additional cards which are added to your deck as you learn more about the courtiers and religious folk you need to carefully manage. While the first game centred around the influence of the Devil on the lives of each monarch you played, here the All-Mother provides the backstory for your soul passing from one queen to the next. Not every option’s result is obvious, and each of your reigns will generally last minutes before one mishap or another befalls you. While it is obvious that decisions such as approving new towers or fending off opposing armies will affect your military meter, other dilemmas like the church asking you to ban alcohol will upset both your soldiers and the apparently alcoholic population. As you play, you’ll quickly learn the likely effects of your choices, and by building up one or more stats you’ll be able to take a larger hit when you issue an unpopular decree against that faction. The nuance is in finding an equilibrium in which each decision has only a minor effect on each statistic.
The trick is balancing out your choices so none of the factions either empties entirely - and takes you down with it - or becomes full, and amasses so much power they can dethrone you. Neglect the demands from the church at your peril.
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