#CONTEXTUALISE

[maleficore]

When I tell you I have been thinking about this for three days straight...

[iridescentmirrorsgenshin]

okay but the fact that we hear all about kaveh's life post-fall out with alhaitham, the fact he graduated, worked at construction firms and continued taking on others' burdens, had a hard time finding solo work because of how arts are perceived in sumeru, that he went to his mother's wedding in fontaine, that he took a vacation from work because he was stifled by the environment and felt he had lost motivation and worth as an artist, was determined to complete the palace of alcazarzaray at the cost of everything he owned just to have a tangible object of his efforts and view of art only for its outcome to further emaciate him, until he meets alhaitham for the first time in years, is understood at once, has no need to don a front as he does for everyone else in his life, is listened to, is challenged once more and reinvigorated in his perception of his ideals, is offered a second chance, a home, and accepts it, although he cannot comprehend why alhaitham would offer such a thing and yet not ask anything of relevant substance in return, other than rent

all of this, and we hear virtually nothing of alhaitham's life post-fall out with kaveh, besides his graduation and his taking on the job of the scribe. his character stories omit this part of his life whereas kaveh's is full of detail and emotion, mostly suffering. the first instance we see of alhaitham in this time is from kaveh's perspective when the two meet again in the tavern, and in this alhaitham endeavours to understand kaveh once more, before offering his house - the research centre previously allocated to the both of them for the success of their joint thesis before they fell apart - to kaveh.

we don't know why alhaitham moved out of his grandmother's house and into the research centre, why he renovated it from a research centre into a livable home, only that he did so after kaveh informed alhaitham through a third party that he was not in need of a house, nor do we know his thought processes and emotions in the years spent apart - the years that are carefully documented in kaveh's character stories. the image we are presented with is that of stasis; alhaitham pursues no other close friendships, he works as the scribe, owns a nice house within sumeru, is financially secure, and functions within, and carries out, his own ideals - is content with this way of life. in this, from alhaitham's perspective, there are no details necessary to give from this time

but in inviting kaveh to live with him, his character stories tell us that what he gains by doing so is the mirror of himself, both in personality and scholarly thinking, and in this, he is able to gain an enhanced view of the world, which otherwise would be limited. with kaveh being present in alhaitham's life, alhaitham believes that his vision is perfected, whereas it could not be before, with kaveh's absence. it is in this that we hear what alhaitham has been missing in his life, and ultimately, it is kaveh, not just as a scholar, but as a person

what is omitted from alhaitham's character stories is provided in kaveh's character stories; where we hear about kaveh's struggles, we don't hear about alhaitham's. perhaps this is because alhaitham did not struggle as kaveh did in terms of realising and achieving his ideals, but instead his struggles were in silence, recognising that his vision, and himself, had been compromised because he had rejected the ideals that served to enhance his own vision, that he had inadvertently rejected, and thus had been rejected by, kaveh.

[aniihera]

Ok. I’ve been compiling my thoughts on the pathologic 2 endings for a while now, and I’ve finally pinpointed my feelings on them (enough to share at least). I’m desperate to hear what others think about them too.

Lengthy Kin-themed rant oncoming? Perhaps.

More under the cut.

CW: Spoilers for Pathologic 2 (of course).

- - -

To preface: As I am Māori, not Buryat or of the other cultures I have heard the Kin to be based on, my perspective is more from *my* understanding of what it means to be Indigenous than anything else. There are probably many things I’m missing. But I’d like to throw in my two cents, however relevant they are.

Suffice to say, my feelings are complicated. Stylistically and narratively, there was a lot that I enjoyed. From a reconnecting/ mixed Indigenous perspective, however, I still feel unwillingly bisected, torn.

At the culmination of everything, Artemy Burakh and the player are roped into a cruel, two-pronged choice. Destroy the Polyhedron along with the miracles of the Steppe, or let the plague devour the town as you lead the Kin back to its heart. In these scenarios, you either assimilate the Kin into the town, which many of them will despise you for, or push out the nonindigenous townsfolk by force, letting nature run its course. Any third option has already been amputated, beyond your will. You cannot protect the Kin completely either way, some will likely die from the plague in the latter, and the more fantastical will in the first, by being cleaved from the earth’s dying magic.

Diurnal, or Nocturnal. No matter how you look at it, the kin cannot thrive in either. For it to be a choice at all, hurt, to say the least. After playing the bachelor’s route in the first game, I’m sure that was deliberate in an anti-utopian sense, perfection is impossible etc, etc. But the first lens I saw it through, stuck with me.

When I initially read Isidor say this after Artemy’s trial in the abattoir:

“Facing the Future is the way of Love. Facing the Past is the way of Love. But the two are incompatible, and it broke my heart.”

I was devastated. The hopeless dichotomisation of future and past… and I could only construe it as assimilation or death in some manner (but I could not see what role it took yet). That feeling festered for a while, but I wanted to see it from another angle. I think it's natural to be sensitive to the words “progress” (which is usually linked to “civilisation” and colonisation) when anchored against Indigenous culture, but I didn’t want that to blind me completely.

On its own, I do like this line. It’s weighty. And I think it articulates aspects of Indigenous struggle well, to some degree. Going back to the “past” is somewhat impossible for many reasons. Decolonisation is needed but I don’t believe it means restoring the “past” fully by any means. Culture is not stagnant, and neither is the future. To say they are incompatible though pains me. Especially when contextualised inside the divide between the kin and the town. It is an intentionally agonising line, and successfully so. Pitting the themes of Past/Future, against, Kin/Town, is something I find hard to reconcile with. Even just the first part irks me; personally the past walks with me at every step, the future is void and useless without it in full view. But I wouldn’t say a line from Isidor (or Artemy’s subconscious) necessarily defines the game more than it does his perspective. For me, it is the patterns that follow and precede it.

Aspity is a very obvious portrayal of what it looks like to “face the past” completely. Visiting her sanctuary, It becomes very evident that her opinions of the non-Kinfolk sway towards genocidal. They must “flood the town”, as she put it. Considering their treatment on the Bull Project and well… everything else, It’s not unfounded. During the night visits, we develop a growing understanding of what is at stake for the kin. Their language, legends, arts, and traditions, and too many Kin are dying from pest and persecution (Its a familiar story). Herb brides are forced to sell their cultural dance to get by (another familiar story for Māori, kapa haka and tourism, our culture has also become a commodity out of necessity). Legends like the shabnak adyr too are warped by the townsfolk (as it is used as an excuse to target Kin women). Assimilation means these things for them too.

There's also the case of how the Kin are depicted as more animalistic than the “more human” townsfolk. Oyun, Big Vlad, and even Artemy have a long history referring to them as such. To make the Kin less than human is inherently othering (as is any case where the empire views us as inherently more primitive or unevolved). The importance placed on Aurochs and being one with nature in Kin culture paints this in a less hostile light (Big Vlad’s view not so much). But I fear the effect this might have on player perceptions of the Kin will be negative regardless. I’ve seen a few statements about the Kin being a “hivemind”, I can't say I entirely agree. Many are divided on how they view Artemy, as well as what they desire for the future. I’ve also seen this in reference to when a few odonghe gift you organs for your tinctures, but at this point everyone in the town is desperate for a cure no matter the cost. Their more violent practices appear to weaken many fans' empathy for the Kin, painting the Nocturnal ending darker and darker. Getting rid of herb bride “marriages” would be a good thing at least right? Assimilation might be a good thing then? Nothing good comes without cost, and for the Kin this cost is too steep. Survival doesn't have to mean losing yourself piece by piece.

I will say that despite liking the non-Kin townsfolk, I do wish there was a larger Kin presence among the main roles. While we have Nara, Aspity, Oyun, and Taya, I understand how their presence does little to assuage the dread of seeing the rest of the cast wade out into the Steppe. For me, seeing Murky and Sticky in such a lost state during the Nocturnal ending, made me unable to see it as anything but a mistake.

Two other alternating themes are present through the endings. Childhood (miracles and dreams) and adulthood (waking up and walking forward). The dominant presence of children in Nocturnal, and the fact that walking through the near empty town really does feel like a nightmare, showcases this. The impossible has been made possible, the earth sleeps, sated. The endless cycle of responsibility, from father to son, from parent to child... Children rule the future here. In Diurnal, this cycle, at least, has some room to be broken. Responsibilities are weighed more evenly. Letting go of miracles and childhood dreams, that is the only future in this end. I’m not sure If i have to discuss how problematic it might be to place indigenous revival in the realm of childishness, and assimilation in the realm of growing up, but i thought i'd leave the notion there regardless.

Leaving how you view the two ends aside, it's obvious that Nocturnal has a heavier, gloomier tone.

Maybe having a third ending would’ve been reductive, to have one person so easily find a solution to unifying the town. But, it hurts so deeply to have that choice wrenched from your hands. The choice might have been severed by Isidor, but it felt like so much was possible for Artemy. With one foot in both worlds, the potential of true reconnection, i thought we could move past what was possible for his father. It felt like that was the direction Artemy was moving in, seeing the choices before him and bullheadedly trampling through the middle. Just like he did with the cure, finding the impossible connection.

As it stands, the endings are brutal. Survival for the kin is held by a thread, regardless of the direction you look. They either die a physical death, or a cultural and spiritual one (the two could very well be interpreted as present in both depending on how you look at it). By your conversations with Aspity, even if they survive, the Diurnal end is hinted to lead to an essential “dissolution” of the Kin as they know it. Wherein the differences between the Town and Kin will become so negligible that the two are no longer distinct. Which from my perspective is its own, however voiceless tragedy.

Ok, that was a lot of negativity but I’d like to be candid. Even despite all that, Pathologic is still one of my favourite games of all time. I saw someone say on here that Pathologic 2 is most interesting when allowing the player to decide where love takes them (even if they are led to extremes). Love being at the forefront, regardless of the choices you make, no wrong answers, that's what I appreciated most when playing as Artemy. Whether you chose to kill the three odonghe for Rubin, begged him to stay despite everything, killed Oyun, the Oglimskys, or the pest, it was for the love of something. The internal strife of having a mixed identity too, the rejection and affection from both sides, is something I related to even if the circumstances were miles apart from my own. I wish that Nocturnal aligned with that energy, that the nuances there were a little less stark. That opposing assimilation felt like less of a mistake.

There's a lot more I could delve into but this is pretty long already. This post could all read like nonsense/surface level, but I’m curious to see what other people think! Especially other indigenous folk, I’m dying to know how others interpreted the endings regarding the Kin.

[kafkaesquedyke]

I’m a little confused by some posts I’ve seen about armand breaking down the door in the book, because they frame armand as either ‘lol he’s so random’ or ‘that proves he’s abusive too’ when everything that happened before explains armand’s actions

break down with tva book quotes under the cut TW: discussions of csa

the initial event that triggers everything is Marius sending Armand to a brothel to have sex with other boys (which was preceded by Marius sexually abusing Armand for a couple of years atp (all of the following takes place while Armand is 17), including already having sent armand to another brothel to have sex with women)

this basically differs from his previous sexual encounters in that he 1) has sex with other guys, 2) they’re most likely around his age, and 3) he enjoys it (I consider basically every sexual encounter Armand has in tva non-consensual but this, and the following encounters, are the closest to “potentially consensual” within a fictional narrative, that this book has to offer and the closest we get to Armand’s real sexual preferences)

following that Marius grows incredibly cold towards Armand, which he clocks as him being jealous (Armand knows Marius is a supernatural being and that he can read his thoughts) though Marius is also potentially stressed because of his duties towards Akasha and Enkil

So, Armand leaves and has sex with Lord Harlech, some noble man he just met (again, I don’t consider this consensual, but mostly because of the age gap)

(not included in the screenshots, but they switch and Armand tops and doms Harlech and deliberately makes a point about enjoying it, which contrasts his relationship with Marius where he is not allowed to reciprocate intimacy (mostly due to Marius’s vampire nature) also Harlech behaving like a lunatic after lol)

then he goes to Bianca (a close friend throughout the novel) and they have sex as well

she calls him out on his relationship with Marius, as well as that he was hiding from him

once Armand returns, drunk after stirring over Marius’ treatment of him in a tavern, Marius is madly painting with vamp speed disturbing the other boys

he’s also painting Armand, further implying that his rage is about Armand sleeping with others, again, something Marius ordered him to do!

Marius ends up flinging paint in his rage, after Armand enters (presumably reading his thoughts?) and orders everyone out of the room

Marius does not respond to Armand’s pleas to once again talk with him, so they can resolve the situation. Armand begs him to simply admit that he’s angry with him and Marius continues to ignore him and then flees

he locks himself in his bedroom (which Armand shared with him so far) then he tells Armand to go sleep with the other boys in a way that implies an end to their relationship. tbc, at this point armand ties all his self worth back to Marius and how much he is desired by him, specifically because Marius is the only person who ever “cherished” him

so Marius rejecting him like that signals to Armand that he is no longer special to him and has therefore lost his unique worth, which Armand has built his entire self worth on (by Marius’s design)

so Marius acting jealous over Armand having sex with others (partially under Marius’s orders), Armand questioning him, not getting a response, leaving to further explore his sexual options, which makes Marius even more jealous, while the entire time refusing to talk about it, despite Armand begging him to, and then rejecting Armand completely is what ultimately leads to Armand breaking the door down. Marius was a 100% more immature here than Armand despite being a thousand-year-old beefing with a teenager (who he’s abusing)

[borzoilover69]

"entirety of dirkjake fandom" my ass. i'm not into the stupid cannibalism kink. it's valid to have a kink but please stop proselytizing it onto literally everyone who ships dirkjake. ugh

my condolences for your inability to engage in fun activities. how far did you have to dig into a dictionary for that fancy word bro.

[alackofghosts]

wolbert week day 5 - loss

how i wish we could have been friends

[txttletale]

tolkien's framing device is vital to understanding the content of his books and the way his thousand of imitators over the last few decades all immediately discarded it without considering what kind of load-bearing weight it might be carrying is one of the main reasons why the modern fantasy genre is so deeply fanatically conservative and reactionary

[loonyloopylupin96]

Viva La Vida is Remus' Prisoner of Azkaban anthem and you can't convince me otherwise

[relativeconsciousness]

agatha needed 1-2 more episodes just to flesh out agatha/rio a bit more and make their fight more dramatic/interesting

[doodlejoltik]

my favourite writing device is having an un-Rei-liable narrator

[gaylactic-fire]

I keep getting vaguely bummed out about TOTK which is so annoying bc I don't even dislike the game?? I'm genuinely having a blast with it. But also all the overarching but cohesive themes and meta storytelling about the reincarnation cycle and its consequences and the tragically beautiful world in BOTW?? Like what happened to all that?? That was what made me so mentally ill (/aff) in the first place!!

[frobby]

my feelings about Yukio and his relationship with rin are that I feel like he so desperately wants to communicate with rin, to reconnect with him but he doesn't know how. They live together, they've lived together for years but slowly they've been drifting apart mentally and it's getting harder and harder to communicate. Yukio understands the idea of his brother. His reckless brother who loves him that he wants to protect because he's spent his whole life protecting him. But doesnt actually know that much about his brother personally and neither does rin for Yukio. Years apon years of keeping eachother at arms length it's hard to go back to when they were inseparable as kids and things were easier. At the beginning of the show they're both grieving but Yukio can't confide in rin. He just can't because he's the authority figure, he's the one in charge, he's the one with his life together and if that slips then he's really nobody just like when he was a kid and having his brother protect him but that backfires on him cuz he still after years and years even now when his secret double life as an exorcist has been revealed. He still can't figure out how to communicate with his brother.

[basil-daisy]

OMORI (2018 DEMO) / OMORI (2020) by Omocat | The Picture of Dorian Gray by Oscar Wilde

[r0bee]

Been getting into Fantastic Four more lately and one of my favourite things about Reed as autistic rep is that yes he fits the autistic supergenius trope but he's always so genuinely excited and fascinated by science.

Like he interacts with it the way people interact with their special interests instead of it just being something he's automatically good at Because Autistic Savant. He loves talking about and studying science to the point it can get in the way of social things and focusing on what's happening around him. HE'S SO REAL REED RICHARDS YOU WILL ALWAYS BE FAMOUS TO ME!!!!!!

[robobee]

absolute favorite part of the trc show far is that they cast a lightskin poc to play gansey but i did cringe because that scene where hes speaking to calla shows that his actor is NOT fluent in spanish (though i guess it makes sense for gansey???)

+ the interview where he says that the adansey kiss WASNT SCRIPTED though really endeared me to him like finally someone who gets itttt

[ludcake]

think itd have been so interesting if the iron islands had been subjected to a foreign lord paramount until the greyjoy rebellion. the tension of the greyjoy rebellion, it validates balon as a leader, it emphasizes the old ways as a return to tradition precipitated by a newfound cultural unity, it contextualizes the disdain for greenlanders, it gives direct momentum to house greyjoy, it contextualizes the iron islands as both repressed and oppressed. think itd be cool if the lord of harrenhal was also the traditional lord of the iron islands, who doesnt even live in the islands, doesnt know its people, lives in a wreck of a decaying castle and yet gains the taxes and iron from the islands......

plus it contextualises the jockeying for the seat of harrenhal in a very fun way to me