#I said I could write an essay on this game

[mostlysignssomeportents]

Sandra Newman’s “Julia”

The first chapter of Orwell's Nineteen Eighty-Four has a fantastic joke that nearly everyone misses: when Julia, Winston Smith's love interest, is introduced, she has oily hands and a giant wrench, which she uses in her "mechanical job on one of the novel-writing machines":

https://gutenberg.net.au/ebooks01/0100021.txt

That line just kills me every time I re-read the book – Orwell, a novelist, writing a dystopian future in which novels are written by giant, clanking mechanisms. Later on, when Winston and Julia begin their illicit affair, we get more detail:

She could describe the whole process of composing a novel, from the general directive issued by the Planning Committee down to the final touching-up by the Rewrite Squad. But she was not interested in the finished product. She 'didn't much care for reading,' she said. Books were just a commodity that had to be produced, like jam or bootlaces.

I always assumed Orwell was subtweeting his publishers and editors here, and you can only imagine that the editor who asked Orwell to tweak the 1984 manuscript must have felt an uncomfortable parallel between their requests and the notional Planning Committee and Rewrite Squad at the Ministry of Truth.

I first read 1984 in the early winter of, well, 1984, when I was thirteen years old. I was on a family trip that included as visit to my relatives in Leningrad, and the novel made a significant impact on me. I immediately connected it to the canon of dystopian science fiction that I was already avidly consuming, and to the geopolitics of a world that seemed on the brink of nuclear devastation. I also connected it to my own hopes for the nascent field of personal computing, which I'd gotten an early start on, when my father – then a computer science student – started bringing home dumb terminals and acoustic couplers from his university in the mid-1970s. Orwell crystallized my nascent horror at the oppressive uses of technology (such as the automated Mutually Assured Destruction nuclear systems that haunted my nightmares) and my dreams of the better worlds we could have with computers.

It's not an overstatement to say that the rest of my life has been about this tension. It's no coincidence that I wrote a series of "Little Brother" novels whose protagonist calls himself w1n5t0n:

https://craphound.com/littlebrother/Cory_Doctorow_-_Little_Brother.htm

I didn't stop with Orwell, of course. I wrote a whole series of widely read, award-winning stories with the same titles as famous sf tales, starting with "Anda's Game" ("Ender's Game"):

https://www.salon.com/2004/11/15/andas_game/

And "I, Robot":

https://craphound.com/overclocked/Cory_Doctorow_-_Overclocked_-_I_Robot.html

"The Martian Chronicles":

https://escapepod.org/2019/10/03/escape-pod-700-martian-chronicles-part-1/

"True Names":

https://archive.org/details/TrueNames

"The Man Who Sold the Moon":

https://memex.craphound.com/2015/05/22/the-man-who-sold-the-moon/

and "The Brave Little Toaster":

https://archive.org/details/Cory_Doctorow_Podcast_212

Writing stories about other stories that you hate or love or just can't get out of your head is a very old and important literary tradition. As EL Doctorow (no relation) writes in his essay "Genesis," the Hebrews stole their Genesis story from the Babylonians, rewriting it to their specifications:

https://www.penguinrandomhouse.com/books/41520/creationists-by-e-l-doctorow/

As my "famous title" stories and Little Brother books show, this work needn't be confined to antiquity. Modern copyright may be draconian, but it contains exceptions ("fair use" in the US, "fair dealing" in many other places) that allow for this kind of creative reworking. One of the most important fair use cases concerns The Wind Done Gone, Alice Randall's 2001 retelling of Margaret Mitchell's Gone With the Wind from the perspective of the enslaved characters, which was judged to be fair use after Mitchell's heirs tried to censor the book:

https://en.wikipedia.org/wiki/Suntrust_Bank_v._Houghton_Mifflin_Co.

In ruling for Randall, the Eleventh Circuit Court of Appeals emphasized that she had "fully employed those conscripted elements from Gone With the Wind to make war against it." Randall used several of Mitchell's most famous lines, "but vest[ed] them with a completely new significance":

https://law.justia.com/cases/federal/appellate-courts/F3/268/1257/608446/

The Wind Done Gone is an excellent book, and both its text and its legal controversy kept springing to mind as I read Sandra Newman's wonderful novel Julia, which retells 1984 from the perspective of Julia, she of the oily hands the novel-writing machine:

https://www.harpercollins.com/products/julia-sandra-newman?variant=41467936636962

Julia is the kind of fanfic that I love, in the tradition of both Wind Done gone and Rosenkrantz and Gildenstern Are Dead, in which a follow-on author takes on the original author's throwaway world-building with deadly seriousness, elucidating the weird implications and buried subtexts of all the stuff and people moving around in the wings and background of the original.

For Newman, the starting point here is Julia, an enigmatic lover who comes to Winston with all kinds of rebellious secrets – tradecraft for planning and executing dirty little assignations and acquiring black market goods. Julia embodies a common contradiction in the depiction of young women (she is some twenty years younger than Winston): on the one hand, she is a "native" of the world, while Winston is a late arrival, carrying around all his "oldthink" baggage that leaves him perennially baffled, terrified and angry; on the other hand, she's a naive "girl," who "doesn't much care for reading," and lacks the intellectual curiosity that propels Winston through the text.

This contradiction is the cleavage line that Newman drives her chisel into, fracturing Orwell's world in useful, fascinating, engrossing ways. For Winston, the world of 1984 is totalitarian: the Party knows all, controls all and misses nothing. To merely think a disloyal thought is to be doomed, because the omnipotent, omniscient, and omnicompetent Party will sense the thought and mark you for torture and "vaporization."

Orwell's readers experience all of 1984 through Winston's eyes and are encouraged to trust his assessment of his situation. But Newman brings in a second point of view, that of Julia, who is indeed far more worldly than Winston. But that's not because she's younger than him – it's because she's more provincial. Julia, we learn, grew up outside of the Home Counties, where the revolution was incomplete and where dissidents – like her parents – were sent into exile. Julia has experienced the periphery of the Party's power, the places where it is frayed and incomplete. For Julia, the Party may be ruthless and powerful, but it's hardly omnicompetent. Indeed, it's rather fumbling.

Which makes sense. After all, if we take Winston at his word and assume that every disloyal citizen of Oceania is arrested, tortured and murdered, where would that leave Oceania? Even Kim Jong Un can't murder everyone who hates him, or he'd get awfully lonely, and then awfully hungry.

Through Julia's eyes, we experience Oceania as a paranoid autocracy, corrupt and twitchy. We witness the obvious corollary of a culture of denunciation and arrest: the ruling Party of such an institution must be riddled with internecine struggle and backstabbing, to the point of paralyzed dysfunction. The Orwellian trick of switching from being at war with Eastasia to Eurasia and back again is actually driven by real military setbacks – not just faked battles designed to stir up patriotic fervor. The Party doesn't merely claim to be under assault from internal and external enemies – it actually is.

Julia is also perfectly positioned to uncover the vast blank spots in Winston's supposed intellectual curiosity, all the questions he doesn't ask – about her, about the Party, and about the world. I love this trope and used it myself, in Attack Surface, the third "Little Brother" book, which is told from the point of view of Marcus's frenemy Masha:

https://us.macmillan.com/books/9781250757531/attacksurface

Through Julia, we come to understand the seemingly omniscient, omnipotent Party as fumbling sadists. The Thought Police are like MI5, an Island of Misfit Toys where the paranoid, the stupid, the vicious and the thuggish come together to ruin the lives of thousands, in such a chaotic and pointless manner that their victims find themselves spinning devastatingly clever explanations for their behavior:

https://www.bbc.co.uk/blogs/adamcurtis/entries/3662a707-0af9-3149-963f-47bea720b460

And, as with Nineteen Eighty-Four, Julia is a first-rate novel, expertly plotted, with fantastic, nail-biting suspense and many smart turns and clever phrases. Newman is doing Orwell, and, at times, outdoing him. In her hands, Orwell – like Winston – is revealed as a kind of overly credulous romantic who can't believe that anyone as obviously stupid and deranged as the state's representatives could be kicking his ass so very thoroughly.

This was, in many ways, the defining trauma and problem of Orwell's life, from his origin story, in which he is shot through the throat by a fascist: sniper during the Spanish Civil War:

https://www.rjgeib.com/thoughts/soldiers/george-orwell-shot.html

To his final days, when he developed a foolish crush on a British state spy and tried to impress her by turning his erstwhile comrades in to her:

https://en.wikipedia.org/wiki/Orwell%27s_list

Newman's feminist retelling of Orwell is as much about puncturing the myth of male competence as it is about revealing the inner life, agency, and personhood of swooning love-interests. As someone who loves Orwell – but not unconditionally – I was moved, impressed, and delighted by Julia.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/09/28/novel-writing-machines/#fanfic

[the-way-astray]

what is going on

let me take you back to half a week ago, when this first started.

it all starts with a simple notification. i click on it, thinking it's an innocent ask, or perhaps an anon wanting to pick a fight with me. i am a notorious keefe hater in this fandom, after all. let's see what the anons have to throw at me this time. if only that small, innocent, little me from four days ago had known. the notification was nothing short of a snake, hiding in the grass, waiting to strike.

it was alayda. she'd dared me to write something *horrified gasp* positive about keefe. she thought me, a notorious keefe hater, couldn't possibly have anything nice to say about my least favorite guy? well, i'd show her. i typed out a truly magnificent pro keefe essay, if i do say so myself. tumblr fought me the entire time, trying to delete half of it, but i persevered, and eventually posted it.

i had no idea what was coming for me. over the next few hours, i began to get truly heinous asks, questioning my commitment to my keefe hatred, and generally slandering my reputation. at the time, i'd thought this was as bad as it could get. but, oh. oh, no, no, no. as edaline ruewen said, "hindsight is a dangerous game". now i know that it could get worse than i could possibly even begin to imagine. and it did.

that same day, i got the ask. the one that changed everything. i responded in horrified horror, terrified terror, because i knew everything was about to change. and the next day, it appeared that other anons had followed in the first anon's footsteps. it was decided that me and keefe would be an enemies-to-lovers romance. our ship name was to be strieefe. an anon went to the official poll blog, @/do-you-ship-this-book-couple. i changed my ask box title to "KEEFE WOULD NOT LIKE ME" and got an anon about it. they started going to katie's ask box.

the debate ramped up. more people became aware. people, both anon and not, began to choose sides. i began offering badly drawn sketches to people who sided against this atrocious excuse for a ship. i should probably be making those instead of typing this out. whoopsie. i fought the anons that disagreed with me with a desperation akin to a rat caught in a trap, but my thrashing appeared to only attract more unhinged anons.

i then got my first anon that made a genuine attempt to explain why this horrible ship could theoretically work. they were wrong, of course, but i appreciate the effort. as i've explained countless times, the real relationship me and keefe would have if he were real would be one-sided hatred. i would hate him with a passion that can't be adequately described by the english language, and he'd be entirely unaware of my existence.

then! a miracle! an anon sent an ask to quil about strieefe, and i can only assume they wanted quil to analyze why we'd be good together. but quil, i never should've doubted quil. the response was a fantastically constructed analysis on why i was right about how i'd have one-sided rage toward keefe. but my delight dimmed significantly when i saw that fin, someone whom i'd previously trusted, had thrown his support behind this awful ship and even drawn fanart of me and keefe. i swiftly demoted him from the spot he had previously shared with max: "favorite fintanposter".

the anons got more unhinged. i began to be shipped with non-keefe main cast characters, sometimes monogamously, sometimes not. i bravely faced the assault, tearing the anons' arguments to shreds with my logical explanations as to why i would not be a good fit for any of them. this led to me posting a poll at the insistence of one anon, which is still open.

just as the waters were looking significantly less treacherous, just as it seemed i may make it to shore without drowning, a new development occurred. i got an ask from alayda, who as you may remember, is the one that started all this. this is entirely her fault. i'd expected maybe a heartfelt apology, perhaps a plea for forgiveness. but no. her ask was but an ominous warning, one i could not make sense of. i pondered the meaning as i stared at it. and then. horror upon horrors, it appeared in my inbox. i read through it in horrified horror, and my rickety little boat was once more swept out to sea.

it was a fanfic. a terribly written, horribly wattpad-ified, y/n-ish fanfic. i tore it to shreds thoroughly, taking pleasure as the scraps of the work of the one who had brought all this sorrow upon me fell in loose tatters all around me. i dusted off my hands and left it at that.

but it continued. even as i type this out, there is a part two to that horrific fanfic sitting in my inbox, which alayda is pestering me to post. there's also a part one to another anon fanfic, which is written relatively well, which arguably makes it even worse than alayda's. then there's yet another poem written about me and keefe by emelin, which also sits in my inbox, gathering dust as i attempt to piece the broken shards of my sanity back together.

all this to say, join the correct side of this debate. we have badly drawn sketches and braincells. be on the right side of history.

[de-profundis-ad-astra]

I'd love to hear what's appealing to you about Jedi Survivor. :)

Ohhhhhhhh my good friend. So much

The appeal of Jedi Survivor includes, and is not limited to:

Visually, it’s stunning. Buggy graphics upon initial release aside, it’s so pretty to look at. And HUGE. So much bigger than Fallen Order in every way imaginable. Also on the cosmetic side, the sound design is -chef kiss-. There’s a particular part of the environment that has a sound sequence that is on par with that sonic bomb from Attack of the Clones, imo

The writing. It’s fairly simple, but effective, and the banter is so fun and natural. It feels like I’ve been engaging in so much media that has the typical “quippy” humor that has become so popular these days, but it works in Survivor, because at the same time it doesn’t hesitate to really lean into its darker aspects. The lighthearted stuff is a nice balance, and makes sense for the characters without invalidating the heavy parts of the story and characters. For some of the character motivations you kind of had to squint and tilt your head a little bit to see it, but it wasn’t so obscene that it ruined the experience.

BD-1. That’s all.

There is a fight/platforming sequence around the end of the second (?) act that is PHENOMENAL. The gameplay is engaging and fast paced. It’s very similar to Fallen Order, and also introduces new mechanics. It builds off the foundation of Fallen Order pretty well. But yeah there are some sequences that are off the charts unreal

Cal Kestis pretty

Maybe it’s been explored in other Star Wars media, but this was my first exposure to a story that actually explores the inherent trauma of being a Jedi Knight, let alone a Jedi who survived Order 66. And Survivor sets it up right at the beginning. Within the first hour of gameplay I thought to myself “this is going to be a corruption arc” and Survivor didn’t shy away from that. It leaned into it so hard. And I love me a good corruption arc. It was just. So refreshing to watch it unfold when so many stories these day will introduce an idea like that and then back off without giving those concepts proper attention

The pacing at the end was phenomenal. For me, I struggled a bit early game with how it was paced, but by the end I was hooked. I stayed up way too late Sunday night because the final act hit and I couldn’t put the controller down until I died. Overall pacing was a weak point for me, but the ending made up for that

Did I mention Cal Kestis is pretty and I would do anything for him?

Was it a perfect game? Absolutely not. Was it fun and did it tell the story it set out to? Hell yeah. I want to replay it again already

[thefloatingstone]

"Do you need another hug?"

"I don't think that will help this time."

[magic-can]

[the-priestess-of-dawn]

Grima and Final Blows

The other day I mentioned that I had an essay about Grima to write that I'd been putting off, and between that and all the great essays my fellow Grimleal scholars have been putting out recently, I decided to sit down and finally get it done.

So here you go. An analysis of Grima's difficulties with directly killing people.

Okay, so I’ve been thinking about this for quite some time, because one of my favorite things to explore when it comes to Grima is the gap between their villain act, which they actively play up in front of others in both Awakening and FEH, and their true feelings, which are hinted at in Awakening (particularly through the Future Past DLC) and made even clearer in FEH— their own evil actions are repulsive to them, and they wish they could live normally among humans, but they don’t believe they have any choice but to be the monster that “the fell dragon, Grima” is supposed to be. They are committed to this “fell dragon” character, to putting on a show for everyone, and they are so good at it that it’s easy to overlook that they… uh… aren’t very good at killing anyone important. Not directly, anyway.

Sure, Grima is responsible for numerous deaths. But what is their actual kill count? Well, in Awakening’s main game… zero. (Unless you count Chrom, but, as we witness, that was not a voluntary act on their part; Validar took control of their body. You could also make the argument that Grima “claiming the sacrifice” at the Dragon’s Table counts, but the problem with that is, although it’s obvious that Grima accepts the life force of the Grimleal members as a sacrifice, it’s not at all clear whether or not Grima personally kills them. Although it’s possible that they did off screen, it’s also possible that Validar killed them, or that they were ordered to take their own lives; there’s no reason Grima would have had to lay a hand on them.) In the Future Past, it’s… one, maybe one and half (Naga’s spirit, and Tiki, but only in body. More on this later.)

And it’s not as though Fire Emblem shies away from showing villains directly murdering people, Even in Awakening itself, the intro to Chapter 9 shows Aversa killing a Plegian soldier for delivering an unsatisfactory report, so it wouldn’t have been out of place to let Grima stab a few NPCs as a show of brutality. Especially seeing as Grima is the evil dragon final boss. As early as Mystery of the Emblem, we can see Medeus killing his cleric hostages to restore his own health if you fail to rescue them before trying to defeat him, and as recently as Engage, we get a whole cutscene of Sombron eating Hyacinth. Fantasy violence my beloved <3

Anyway, the point is, Grima could have been written to be much more violent and I don’t think anyone would have complained. Instead, though, Grima repeatedly— and consistently across the series— tries to avoid engaging in direct combat.

Let’s start with what Grima does in the main game of Awakening. We know that Risen pursue Lucina into the past, because we see them fall out of the portal with her in Chapter 1. We also know that those Risen, as well as the others that are appearing throughout the land, are not being directly controlled by Grima, because later in Chapter 13, as the Shepherds are leaving Plegia after meeting with Validar, Aversa, and the Hierophant, they are pursued by more skilled Risen, and Frederick notes that “Either they are learning our ways, or someone is commanding them…” So… It seems that sending the Risen—with or without specific orders—to attack while Grima is not themself present is a favored tactic.

But what about when Grima is present? Take a look at the Endgame: Grima chapter. Yes, you eventually get to engage Grima in direct combat. But not immediately. What Grima does first is…

Grima attacks the Shepherds with dark spikes from a distance, reducing everyone’s hp to 1. Now, here’s what happens next: Grima attempts to possess their past self, Robin hears the voices of their friends and breaks free, Naga heals everyone back to full health, and then the fight against Grima begins… Except actually, the Shepherds have to get to Grima first, because they’re at the top of the map and they’re not budging. Naga warns them that “Grima’s servants will beset [them] to no end.” and she’s not kidding. Grimleal reinforcements will spawn infinitely, and they can hit pretty hard. Even with everyone starting at full health, it’s possible to lose units to these Grimleal soldiers if Grima isn’t defeated quickly. Can you imagine what would happen if Naga hadn’t healed the Shepherds first?

Well, I’d guess that they’d probably all die to the Grimleal without Grima having to face them up close. Which was probably what Grima was going for.

This isn’t the only time Grima tries the dark spikes trick, either. Grima attempts this exact same move in the Future Past 3 when they face Lucina, Severa, Laurent, and Gerome.

Grima announces “With the next blow, I will kill you.” and then demands that they hand over the Fire Emblem as well as the gemstone they hold. The threat is very real. But…

Given that at 1hp, a gust of wind could take the kids out, would it not have been easier and faster to kill them and just loot their bodies immediately? And yet Grima lets the kids have an extended discussion about sacrifice, and even suggests that Lucina would indeed buy a little more time by running… Again, I cannot stress enough that Grima should be able to finish them off in one hit at this point.

So the plan was almost certainly to back off and let the Risen do the actual killing, even though that would be a lot less efficient under the circumstances. And when Chrom and the Shepherds arrive, Grima immediately turns their attention to them, saying “If it’s a reunion you seek, my soldiers shall welcome you on my behalf.” Then they once again pick a spot at the back of the map and refuse to move from it, forcing the Shepherds to fight through the Risen in order to engage Grima in combat at all.

And sure, Grima has some excuses. “I was hoping not to have to flex any muscle,” they say right before the dark spikes attack, as if to justify why they didn’t do it sooner. And of course they taunt Lucina over having to choose to whether to run as her friends sacrifice themselves for her or to stay and fight and die with them. “I must say I shall enjoy this either way!” Yes, Grima, we get it, you’ve made it very clear that you’re an arrogant asshole.

But is arrogance really all there is to it? If we look at what Tiki tells Grima in the good ending of the Future Past, it looks as though Grima’s arrogance has brought their own downfall. “If you had left Mount Prism alone, Grima, you might have stood a chance. Instead, you have brought the Awakening right to your feet.” However, when you think about it… Is Tiki’s continued existence not in itself a result of Grima’s repeated pattern of not really wanting to land a finishing blow? The game states that Grima did in fact kill Tiki… but only in body, not in spirit. This is, according to Tiki, because Robin intervened.

Now, the question I have is… Is it really possible that Robin could have intervened both against Grima’s will and without them having any idea? Honestly, it’s hard to tell exactly how aware Grima is of Robin’s resistance, because they lie about it a lot, e.g. stating that Robin’s spirit perished in sending Chrom back to his own world, even though just moments later, Robin is once again overpowering them. So, keeping in mind that Grima is a liar, was Grima really arrogant to leave Tiki’s body in Ylisstol, and to not make sure that her spirit was fully destroyed? Or was Robin simply able to capitalize on Grima’s propensity towards backing off?

Because surely the only way Grima could be unaware that Robin had acted against them is if Robin hadn’t actually acted against them. I don’t think I believe that Grima really wanted Tiki gone. Naga, sure—longtime nemesis and all. But if Grima had truly cared about seeing Tiki’s existence destroyed… Well, I doubt Robin could have interfered that much.

But maybe it could still be a matter of arrogance. Maybe Grima just didn’t think Tiki’s spirit could do anything with Naga’s spirit gone, and thus didn't care to pay attention to her anymore once she seemed dead enough.

If that’s true, it doesn’t explain why Shadows of Valentia Grima exhibits the exact same habits when fighting Alm and Celica, despite never having been outside of the Thabes Labyrinth at this point in their life. As opposed to the various Terrors throughout the rest of the Labyrinth, which chase Alm (or Celica) down in the overworld to force a fight, Grima is immobile in their room, and will wait patiently there indefinitely until the player chooses to engage. You can even evacuate from the dungeon.

But if you do choose to fight Grima, it proceeds much like the battles against them in Awakening go. The main difference is that they actually will move from their starting position this time, if you position someone in their range. That still requires a fight against (proto-)Risen who are spawning in from the sides to stop your party’s advance.

So… Now it’s starting to look like Grima actively prefers this one particular trick… And it’s a fundamentally defensive maneuver, which makes perfect sense from SoV Grima’s standpoint (they were attacked out of nowhere, after all), but is not really an obvious standout strategy for Awakening Grima, whose taunts and threats suggest an aggression that would be better supported with a more offensive strategy… Consider, too, that Awakening Grima is in fact being even more defensive than their SoV iteration, since they don’t move towards you at all.

With all that in mind, it really, really looks like Grima doesn’t want to fight, especially in Awakening. Not that they don’t intend for the Shepherds to die—on the contrary, they’ve set everything up so that the Shepherds will eventually be overwhelmed—but that they don’t want to land the killing blow.

(And gee, I wonder what might be fueling their reluctance? Being controlled and made to kill your best friend by your own hand wouldn't be totally traumatic or anything, right?)

And then... Funny thing here, I’ve been procrastinating writing this essay for a long time. I originally started thinking about it shortly before the Depths of Despair banner was released in FEH, so imagine my surprise when I saw this characterization hold up in the writing of Fell Exalt Chrom’s Forging Bonds as well… The Grima there says that Chrom was the one to kill the rest of the Shepherds. Now, it’s pretty clear that it was through Grima controlling him, but that’s not the point. The point is that once again, Grima didn't have to do any direct killing.

Look, if it had only ever happened once, I could buy that maybe Grima was just underestimating their opponents, that maybe they thought they could get away without having to put very much work in. But for Grima to operate this way so many times, so consistently, and to their own detriment? No...

Grima doesn’t like direct combat. Grima has trouble even when it’s a fight they asked for.

And when you think about it, that makes their reaction to Robin choosing to land the final blow themself in the sacrifice ending all the more understandable.

“…YOU WOULD… NOT DARE!”

Because Grima would not dare. Grima has always preferred to let someone else land the final blow.

[presiding]

What is your favourite thing about Billie Lurk?

(Answers are obvious possibly but i love when people talk about her👍)

thanks for the ask!! YEAH ME TOO I love when people talk about Billie! I can't say I have a favourite thing specifically, but I can explain why she's my fav. apologies for not taking this qn literally, but -

short answer: she’s really cool

& you can stop reading there, or, for the maybe 2 mutuals who might have time to read this my thoughts on her as a character, her meta, and her character as raw potential...

long answer:

i considered making this entire thing a gush so you could read a gush about Billie. but, part of what draws me to her is that she’s not always well written, and in fandom she’s underrated for a literal protagonist.

since you ask...

billie is a cool character

when I played Dh2 (hadn't played Dh1), I was excited to see a black woman with disabilities who was captaining a massive ship by herself. wow.

then I discovered Billie’s backstory with Deirdre, the way she responded to that, then having to survive while living on the run, and her bisexuality. as well as her history with daud & delilah. fascinating!

she’s an outsider who has so much to lose, and knows what it's like to lose everything - having lost everything not once but three times - but nevertheless speaks truth to power. she's so brave! she went and helped Emily & Corvo and she must have known they might kill her! plus, she’s smart, she’s funny, she gets shit done, she’s gorgeous.

but... the meta

mild critique of fandom & arkane incoming.

skip this bit if you want - you've been warned twice now - jump to tired Hayao Miyazaki and read from there if you'd like my thoughts on writing her.

i thought Death of the Outsider was going to be amazing and then... well. *sad trombone* i've written about that before so i won't keep banging on. i figured others must be disappointed too, so I joined a few fandom spaces in hopes of finding camaraderie.

most people with complaints about DotO didn’t like how the Outsider and Daud were handled. which is valid & I agree. but it seemed like most paid no attention to Billie; when people talk about her it’s with respect to Daud, as opposed to in her own right. you could argue for fandom misogyny because people don’t talk about adult Emily Kaldwin that much either, but in Billie's case, it’s misogynoir (compare & contrast with the popularity of thomas, particularly the popularity of thomas portrayed as a white man for no particular reason that i've been able to discern - i keep asking around, is it in the books???).

i think this is a LOT better now than it used to be, which is fantastic. or perhaps i have found the correct echo-chamber? ha.

ultimately, The Fandom is a fraction of the entire picture, and not even the important bit since The Fandom is not who these games are made for. you can't make money relying on only your hardcore fans even if all of them spent a fortune on merch, this is true for any AAA game.

while it's true that Billie is underrated from a fandom perspective - but Billie as an underwritten protagonist is squarely Arkane’s fault.

it was reasonable when she was a side character - the lack of info in Dh2 makes perfect sense (if anything there was more lore in Dh2 which is kind of wild)-

- but as a protagonist in Death of the Outsider?

.... there’s lousy writing, and there’s whatever is going on with Billie Lurk, a black woman who mostly exists as a foil or saviour for light-skinned characters. In her own game there’s barely any of her own lore except where it's relevant to saving two dudes.

lore hints at, but barely touches on what race means in the Dh universe (xenophobia is stronger in Dh1; separate essay i guess), but Arkane has patted themselves on the back for portraying non-white characters, which feels like the same thing as the aesthetic of diversity we're seeing in advertising currently because it’s in marketing trend guides. it's self-congratulatory and it's a missed opportunity for deeper storytelling.

you can see an example of diversity at its most shallow in the way that Billie’s written: there’s little engagement with her as an entire person with history & wants & preferences, and the world she walks through in that game feels like it has nothing to do with her. you could make a case for alienation as a theme, but then, how do you handle the titular premise of 'Dishonored' without ever letting Billie make changes in an environment without a chaos system? it's disappointing from that angle too.

in my opinion, whatever it's worth, it was an accident Arkane created such an awesome character - they needed someone to betray daud. congrats billie.

all this said, it makes her an underdog as far as characters to enjoy & create art & stories for. it's nice to find so many like-minded, switched on people! <3

billie's character potential

she’s got a wealth of unexplored lore, being deeply intertwined with both Karnaca & Dunwall’s fates & criminal underbellies, as well as her connections to the witches & whalers, and three Empresses.

she’s lived a few distinct lifetimes and in the games we get to meet her at two peaks (KoD & DotO) & a low (Dh2 as Meagan).

her voice is very distinct, her dry & often dark humour is entertaining & fun to write. her perspective is really interesting - she’s had the widest variety of void-powers of anyone canonically, and she’s also lived through the highest highs and lowest lows.

she's got everything going for her :) i couldn't really pick a fav thing!

[kaidanalenkosprmanager]

THE BEST OF PRIORITY: THE CITADEL (PART 1)

Featuring: Cmdr. Sophie Shepard, Lt. James Vega, EDI, and Thane Krios With: Flight Lt. Jeff "Joker" Moreau, Councilor Rannadril Bibsos Tembin Lesti Bensin Valern, Cmdr. Armando-Owen Bailey, and Kai Leng Kalahira, this one's heart is pure, but beset by wickedness and contention. Guide this one to where the traveler never tires, the lover never leaves, the hungry never starve. Guide this one, Kalahira, and she will be a companion to you as she was to me. Mass Effect 3: Legendary Edition (2021)

[conschintz]

just a reminder that just because thorn and/or viola are your favourites in burrow's end, that doesn't give you the right to make insensitive cult jokes about them that real-life cult survivors in the fandom might see. thanks!

[pagesofkenna]

i wanted to make a post about a thing but the more i think about it the more i want to say and it's just going to end up being a big ramble essay, so instead i'll just give the thesis statement, thusly:

as the #1 Ratgrinders Apologist (self-appointed), of course they're the final boss fight to the death. i expected nothing less and the people trying to make discourse about it are ignoring the entire context of this being a Dungeons and Dragons game

[keybladewieldernier]

Obsessed with people who critique cozy horror without knowing what it is or the range it has.

Like what is more terrifying than a home that is never safe? What is more devastating than the only one who's shown you love is the one who will hurt you the most? Isn't blood and gore seen in a still morning light more potent than it being diluted in the darkness of night?

Cozy horror isn't "watered down" horror, it's taking things traditionally seen as safe and asking "but what if it wasn't?"

[olympusreach]

Since Vincent is the most recent to come to Hope County, he probably has heard the goings on in the rest of the country. The last he's heard is things may be escalating, but Vincent has faith that the government will take care of it.

[can-of-w0rmz]

Am I the only one who wasn’t REALLY destroyed by the Magnus Archives finale?? And I mean that as NO detriment to the story writing whatsoever, if anything a compliment I guess. I mean I teared up a wee bit and I had to go pace the house at like 1am, but in comparison to how I reacted when I first played Omori (that is hardcore sobbing on my bed for god knows how long when I was 14) I wasn’t really like, in pieces over it? Mainly because it was a really really satisfying ending.

It was very well set-up and believable from a story writing standpoint so that I predicted it, and when it happened, I kind of just went “yep. That’s it.” And I mean that in completely the “that’s it- there’s my satisfying ending” way, and not whatsoever the “Yep. Predicted that. Bored.” way.

I think the thing that I DIDN’T expect was the dialogue itself, so “Together?” “Together. One way or another.” WAS the thing that got me teary and even now I’m a wee bit emotional quoting it. I don’t know, just thought from the fan response it was going to be like, REALLY emotionally devastating, like on the border of unsatisfying-ending, when really I didn’t feel that way at all.

I don’t know really, just flinging my feelings into the Tumblr void two years after the show has finished. Wondering if anyone felt the same way?

[ajdrawshq]

Is there any non-spoilery way you could talk about how isat isn't just about timeloops? because like I do want to check the game out eventually for sure if only because indie fun times but I'm busy for a while before I get the time and tbh I'm just not as curious because I don't know how it's gonna break that formula (also ngl no colors makes me lose 50% interest because I like. looking at colors. lots.)

UHM OK WELL UM. hm. how DO i do this without spoiling anything. im very not good at describing things especially things i Really enjoy so how do i put this . hold on i might need to look at some reviews so i know how to words. ok

as a disclaimer i havent fully interacted with a lot of (if any??) media that has timeloops so i cant say for certain what it does differently from similar media that makes it stand out from others. at the same time ive never seen something that is so directly About Timeloops in this way even if i consider stuff ive heard about in passing but i could be wrong (madoka n utena come to mind ?). ill try to think abt the things that arent Just timeloop related plus the stuff u mentioned and hope that helps it feel more interesting and less generic?

i think one of the main things i can say is that it Really makes you feel what the protagonist is feeling. more than anything ive ever watched or played or whatever . and thats saying a LOT given how much i empathize with protags in games. and its not even just an empathy thing here. both the story progression and the gameplay work in such a way that you experience pretty much everything the same way they do, while still having their own personal stuff u can learn about of course

on that note tho. that is actually something to be careful of for a few reasons. i know ur generally pretty good with darker content so i doubt thatll be a problem for u here (its not that bad tbh but there is IS a warning when u open the game/look at the steam page and it aint lying) but. due to the nature of timeloops. it CAN get tiring and this is very much intended. and this helps a lot w the story and themes in a way that its. like. think how kh days does repetition on purpose. its a lot like that (although i had way easier of a time getting thru isat than days? i cant remember how u feel abt days' gameplay but i think it was positive ? either way getting thru isat was way more bearable than days imo). it does do a good job at balancing this with a couple mechanics that mean u dont have to repeat everything all the time (i had like. Very few actual full loops by the time i finished) and theres ALWAYS new things happening, even if ur super thorough with everything. its pretty easy to do things at whatever pace u feel like and if u wanna focus on the main story only to make it easier it wouldnt take too much away from the experience (tho i do encourage talking to the npcs at least a few times), and theres always a goal to work towards. also dialogue skipping and the banana peel are ur best friends

sort of adding onto that. it really, really helps that u are sharing the experience with the protagonist. not only does that help u relate to them (even if u dont share as many traits w them as i do akvdjsn) but theyre probably the most beloved character in the game and for good reason!! its really fun to see their interactions with the rest of the main cast and the npcs, and watch them all develop in different ways throughout the game. and my goodness all of the characters are beautifully written - at first ur kinda thinking ok its a ragtag group of sillies in an rpg whats new. but their personalities and relationships and hobbies and problems and everything about them is just so well done.. they feel so natural. human even. every conversation feels real to me. one of the main themes of the game is the concept of change, and each of them represent and approach it differently, both positively and negatively. its hard not to fall in love with them as individuals and as a group because they just have so much going on, even the ones i didnt expect to like at all!!

the worldbuilding is also a fun spin on fantasy rpg worlds. it mostly revolves around the area u play in bc well. of course it does. but its vv interesting to learn about all the different cultures within the world and how they interact with and build on the themes of the game. theres all sorts of queer stuff going on and its all handled like a love letter to people who relate, and i can feel it even with what i dont relate to at all!! the way "magic" works and the ways people use it in battle and everyday life is super cool too, makes the whole thing feel a lot more believable and realistic :3 i dont wanna talk abt any specifics bc its more fun to learn abt this stuff ingame

OH AND THE TEXT.. EFFECTS?.. idk what to call that but the way dialogue (both internal and external) is written and programmed is funky as hell (affectionate). it was weird at first bc oftentimes (mostly for humor) its like. almost the way i type actually?? which feels strange in a legit game but it Works. it works so well and adds tone and vibes and a Voice in a way u usually cant get in a game without any voice acting. deltarune is also good at that but this one does it differently enough for me to consider it unique

HAVE I MENTIONED THE ART STYLE i love the art style . its so charming and expressive especially all the talking sprites n battle portraits. simultaneously silly n adorable while fully capable of being serious. and creepy. anyway look at the sillies i love them n their designs dearly (especially Siffrin (1st on the left) and Mirabelle (2nd on the left))

also on that note, the lack of colors....... i both totally understand being put off by that (i also love looking at colors n this part made me feel weird abt it when i was thinking abt getting it at first) and personally enjoy it? without saying anything spoilery (bc its really not), its just another part of the worldbuilding and themes that i now find really fun :3 should be noted that i usually have an anti blue light filter so it mightve been easier to look at w the yellowish tint going on. maybe it even looks better that way ? kinda reminded me of old films now that i think abt it.. neat!!

as a last thing i couldnt quite insert somewhere else. it is equal parts a comedy and a tragedy, and it is so, so effective at accomplishing this. the humor is fantastic and adds to the games' and characters' personality, every tragic moment is . for lack of a better word or phrase. absolutely fucking delicious. and i adore how well it can shift from one to the other gradually or in an instant, or just be both at once!!!! yippee!!!!!!!

aaand thats all i can say. i have no idea if that cleared anything up BUT i encourage u to give it a try bc i do think youd like it in the end. u probably wouldnt finish it as fast as i did but that might be a good thing jfbskndj but yeah!!!! in stars and time!!!!!! its good and i love it!!!!!!!!

[apotelesmaa]

Objectively yes five pebbles deserves most of the blame for every problem in rain world but I think seven red suns does not get near enough flack for knowing five pebbles wanted nothing more than to end it all, knowing he shared resources with moon, knowing 5P trusted and looked up to him and STILL choosing to send him the information on the very risky plan to die that requires constantly utilizing every drop of water at your disposal and requires complete perfection in execution to avoid giving yourself super turbo mega cancer. & then going Omg I can’t believe five pebbles has done this :( why is he so mad at me now :( my iterator in Christ you literally gave him step by step instructions on how to ruin his life and accidentally kill his sister what did you think was going to happen.

[seilon]

god I wish I could rip Instagram apart with my teeth I hate it I hate it I hate it