I realize it’s slightly unfair to ding Pre-Sequel for this. It feels roughly equal in length to the final stage of the original Borderlands. But then here at the end we get dumped into an epic slog. I’d be okay with that, particularly if it meant we got a more focused game with less filler. The Pre-Sequel is the shortest of the main Borderlands titles. It might feel like we're in the home stretch, but we're hours from the end. Earlier in the story Lilith and Roland specifically said they were out of the vault-hunting game. The player is trying to reach the vault for Jack, and Lilith and Roland are trying to beat him to it. This feels like “Boilerplate AAA videogame” with a quirky art style.Īfter the betrayal, the plot settles down into a race for the vault. This doesn’t feel like the playful, winking, lampshading, genre-savvy Borderlands 2. And there aren’t even any jokes to make this fun. The writer has twisted the characters in knots to get us here, and after all that messing around they still can’t make anyone’s motivations or actions make sense. But if you justify his later evil deeds, then aren’t you actually making them less evil? This is exactly the opposite of the thing the writer should be doing! It also seems to be trying to retroactively justify Jack’s later behavior by showing he had a reason for his vendetta against Lilith and company. We’re supposed to be witnessing Jack’s turn to evil, and instead the story is retconning Moxxi as self-righteous and craven. You can find out more on their website, on Instagram, and on Twitter.Jack, you're a power-hungry psychopath, so I've decided to use the doom laser to murder you and everyone on the station. The submission window for Profiles opens on the 22 nd of April. “We’re open to experimental twists on the definition of ‘portrait’ - we want to see a vibrant personality, however you’ve captured it.”
Profiles is also seeking portraiture across all visual media which can appear in print. We believe that poignant observations about human behaviour can emerge in any kind of story, from the real to the surreal.” Visual media The editors say that they set up the journal with “the aim of establishing a literary journal that is both niche and all-embracing – though the primary focus of each piece will be character rather than narrative or style, we’re open to submissions of writing across all genres. Profiles welcomes character-driven fiction and non-fiction - both original work and work in translation - under 8,000 words. Profiles was set up by editor Clare Healy, a content editor at Lonely Planet, deputy editor Djamel White, a publishing assistant at New Island Books and an incoming MFA in Creative Writing student in UCD, and art editor Sarah Sturzel, an MA student of Literary Translation in Trinity College Dublin. “We’re interested in publishing character studies,” says deputy editor Djamel White, “we love writing that channels the author’s insatiable curiosity about other people (or their talent for self-reflection), is empathetic without bordering on apologia, and shows human nature as it is, not necessarily as it should be.” Character-driven Profiles is a literary journal with a focus on character-whether that’s fiction, non-fiction, or visual art. Ireland has an embarrassment of riches when it comes to literary journals, and now joining the likes of Tolka, Channel, Sonder Magazine and The Liminal Reviewcomes something with an interesting slant. Profiles is a new literary journal with a focus on character
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