#THE BAD STUFF KEEPS HAPPENING / * narrative.

[lunarharp]

figured i'd do this again..bit early i guess..

[eyepatchdate]

back in my td debating of 'how dark should it go'

[thepandalion]

I have a fic idea and I dont know if I want to write it or not send help

[heyclickadee]

Okay, but all of this.

I ran out of room in the tags 😅, so I’m putting this here: One thing I wanted to touch on is the Ahsoka thing. The treatment of Ahsoka’s “death” at the end of season two of Rebels didn’t strike me as odd when I was watching through the first time as that show was coming out, because I wasn’t super attached to Ahsoka at the time, but, looking back, it’s weird. Ahsoka goes out in this huge self-sacrifice, we don’t see her die but they sure imply she dies off screen, there’s a little thing you see at the end that may or may not be her or her ghost, Ezra’s devastated, we get sad looks from Rex, a sort of funeral march version of her theme, the season ends, and then…nothing.

Ahsoka doesn’t get a funeral. The only person who gets close to saying she died is Tarkin (“Now that Vader has eliminated the Rebel’s Jedi leadership”). She hardly ever comes up, and when she does it’s usually in a, “We could have asked Ahsoka about this Jedi thing,” capacity. Rex, her oldest friend, doesn’t talk about her. Her death doesn’t motivate anyone—in fact, almost all of the conflict in the front half of the season is driven by the other things that happened in the season two finale, Kanan’s blinding and Ezra falling in with Maul—except maybe as subtext. We don’t even know for sure that everyone believes Ahsoka is dead; there’s even one moment that kind of indicates Ezra’s holding out hope that she’s not.

The show basically ignores the big Ahsoka-death shaped elephant in the room until two seconds before Ezra is pulling a very alive Ahsoka into the world between worlds. And contrasting that with the other important deaths in the series, mainly Kanan, and then Mira and Ephraim Bridger, where they actually go out of their way to hammer home how dead they are, make the deaths integral pieces of the plot, include entire episodes of processing, and do the work necessary to allow the audience and the characters to move on, it ends up being obvious that Ahsoka was never actually meant to be dead at all. She’s MIA until she comes back and the show treats her like she’s MIA, not like she’s dead.

And the reason I keep coming back to Ahsoka on this is that despite being the implausible resurrection franchise, the list of main Star Wars characters with planned fake out deaths which fake out the audience in addition to the characters is pretty short, and they all kind of fit this pattern. (For a truncated example, check out KB in Skeleton Crew. We get Captain Wrong dead certain she’s going to die before she even crashes, KB doing her best to fix things and find a way out while her moms and her friends say she can do it, horrified reactions when she crashes, aaaaand then twenty seconds later the story completely forgets about KB and how she just “died” until about ten minutes later when the kids are like, “Oh! KB!” and they rush off to find her alive).

To me one of the biggest pieces of evidence that Tech is alive and planned to come back in a future installment is that, were I to be trying to write a fake out death, I cannot think of anything else I could add short of literally showing him alive (at which point it's no longer a fake out.)

Give extensive development to his ability to rapidly think his way out of anything and stay calm in stressful situations? Check, we have Faster showing that he can make these plans in seconds while in the middle of driving and he actually says outright that the second one is a skill of his.

Give survival foreshadowing? Check, just check out the extremely blatant hold on him after Romar's "I'm a survivor" line. And again in Faster - it'd actually be an excellent place to put some foreshadowing of his possible death, have him win but in a way that causes a crash or something of that nature, making it so that his gamble worked but was a close call, rather than an easy survival for him. Instead we get others doubting Tech could survive but he not only does, but he does it easily. We have lines from Phee implying that there's more to come - her first line, better late than dead, is one that is an odd intro to her as a character but works perfectly if taken as foreshadowing for later. And her oddly specific 'don't go running off with any pirates or smugglers' in their last scene together is another one where it just feels primed for a comeback later on. His final conversation with Saw also is an interesting aspect here - Saw is the one that is leaning hard on 'sacrifice is necessary for the greater good' while Tech tells him to work smarter and take your enemy down from within. If you're going to have a character sacrifice himself, why put him at odds with the concept of sacrifice immediately before? There are just a lot of pieces that make the most sense if they're foreshadowing something to come with him.

Open plots that aren't yet resolved? Check on multiple angles. He has Phee of course - and they could have resolved that by either giving more closure in their last talk together or by having more of Phee in season 3, allowing her even one scene to talk with Omega about moving past something that she will never get closure on. This leaves their dynamic hanging wide open, but not in a way that uses the lack of closure for plot development. They also introduce a theme of culture and memory with him, which isn't allowed to go anywhere prior to him dropping into the mists and isn't developed in season 3 in his absence, where nothing is done in his memory and his goggles being placed in the Archium isn't even about remembering him it's about Omega not wanting to leave Pabu behind. AND, going back to Faster yet again, Cid drops that she owes him one, which hasn't come back. Cid is still out there, and that favor could still be called in if Tech comes back, otherwise it's an empty line that doesn't connect to anything. All of these were opened in season 2, so they're not just leftovers from changed plots.

Ambiguous method of death? VERY Check. Falls are one of the classic fakeout death methods because as long as we don't see the results anything could have happened between the moment we lose sight of Tech and when he would have impacted the ground. Did he manage to get on top of the rail car and use it to break his fall? Did he manage to find an alternate landing place and use wind resistance to angle himself towards a softer landing? Is the armor protecting his head and torso shock resistant enough to allow for survival? Could be any of those or more, we don't know because we don't see it. TBB also puts a lot of effort into making sure you know falls aren't that fatal. Here's a great post from @heyclickadee going into the WIDE variety of falls that would have logically been fatal but that are wriggled out of through the series. They could have given him some kind of injury that makes it less likely he'd survive, but nope despite being blown off the railing he's totally fine and able to maneuver out of it. He even flips into the skydiver's position before we lose track of him, which is the first thing you're supposed to do if you find yourself in freefall.

No body? VERY check. They picked a method of death that lets them not show a body, and then they go out of their way to make sure no one can look for a body. Omega's hurt so they can't go back and look for him. She passes out in front of a body but it's not his. Hemlock claims all he found is goggles in a moment where he has every reason to lie to them. They could have had Hemlock recover the body and show it under a sheet in his lab. Omega passes out in front of a body, that could easily have been made to be Tech to drive home that he's gone. There's a lot of options there! They took none of them.

Nobody ever gives him a funeral or has a mourning scene outside of the initial shock moment? Check. And, in fact, the only time he's even referred to as dead by anyone it comes from the mouth of Crosshair, the guy that's in this show primarily to be wrong about things. Every other time he's brought up, it's a moment of sadness and moving on. This is an easy fake out trope, because it allows the grief to linger without taking up a ton of screentime for something you're ultimately going to reverse. (See: Ahsoka in Rebels)

If I wanted to add to this, if I wanted to make it MORE clear that he was coming back without just saying so in words or literally showing him alive, I don't know what could be added. Front to back it's fully loaded with everything that goes into a fake death. And nothing that typically signals a real death. You can't rely on real life statistics for long falls because it's not real life, it's fiction. And by all fictional standards, Tech never died and it's just a matter of when and where they'll reveal him. (I'm still putting tentative money on it being sometime between the ending shot of the tree and the epilogue, to justify why they pulled his goggles out of the Archium rather than leaving them there as a memorial.)

[daincrediblegg]

no you know what I'm going to scream about the stuff I talked about in the tags of this post publicly

I'm tired of the well-meaning "don't feel bad if your work only gets 20 notes your genius is what counts and do it for you!" bullshit. I've had a good handful of friends who have straight up DEACTIVATED in recent months because their work was not getting reblogged AT ALL. No, it wasn't from lack of not being well-liked, no it wasn't from lack of trying to make sure it was getting out there to the people they knew would engage with it. It was because no matter how much they were praised privately for their work, when push came to shove, absolutely NOBODY reblogged it and gave it the audience that it was due, and I'm tired of people shoving the "unsung genius" narrative as an excuse for it. Nothing excuses that. And the boop event really proved that.

because I know given the opportunity, indiscriminately pressing a button (sometimes 10 thousand times, as I did) is not beyond this website's capability. y'all loved doing that. and look at what it wrought. nothing but love and affection and happiness. just from a couple of quick clicks of a little paw button. sure. nobody knew who you booped but the other person (which is how likes used to work on this website, btw). there was an element of anonymity to it. but that is kind of the core of this website that no other social media platform still has: the ability to be anonymous. and hyper-curating a blog on here like you might on twitter or instagram to project an image is simply not viable. and hey. you wanna know a secret: literally nobody cares what you post or whether it goes with the "theme" of your blog or not. yeah. I know. CRAZY concept in this day and age. but literally. I myself have reblogged things that have had nothing to do with whatever I am currently fixated by and you know what happened to my follower count? not a damn thing. in fact, I actively try to reblog things specifically BECAUSE it's my friends who made them (even though I'm not always good at KEEPING UP WITH HOW MUCH THEY POST @prismatica-the-strange will NEVER GO UNRECOGNIZED by me).

And you know what fucking sucks? I have to deal with this too. surprise right? you ever wonder why I reblog fics or art I post like 20 times the day that I post them? do you ever wonder why I ask about tag lists and beg for asks all the time? IT'S BECAUSE EVEN I GET LIKE. 5 LIKES ON THE THINGS I POST. AND THE REST OF THE REBLOGS ARE MINE SO I CAN MAKE SURE THAT PEOPLE WHO WANT TO SEE WHAT I MAKE GET TO SEE IT. and I say that knowing that I'm certainly not an unpopular blog, or an unpopular writer. I know that people love the stories that I create. Hell, half of the people that I've talked to about lady terror have told me that they consider her to be canon (AND EVEN SOME!! THOUGHT SHE WAS!!! WITHOUT EVEN HAVING WATCHED THE SHOW! WHICH IS STILL SO SO WILD TO ME!!!) But especially in the last 4 years (which really dates this phenomenon), my posts, no matter how well received they've been amongst people I've talked to about them directly, I still go into the notes and at least half (often more than half) are MY reblogs to make sure people saw what I posted. and it happens every single time, and I can't tell you how much it crushes me considering that it used to be that I would be able to post it only once, and people would reblog it sometimes even HUNDREDS of times.

It's not about popularity. it never has been. it's not about anxiety. or shifting website cultures. even if you lurk, the simple fact is, that if you want people to keep making what you love. you have to reblog. your theme won't suffer because you reblogged a fanfiction that you really admire. your posting won't be ruined because you reblogged some fanart from someone in a different fandom. really. I promise. and if people do unfollow you for that? who needs em. followers come and go but you should NEVER have to cater to them. on this website it has ALWAYS been the other way around. lean into it. make it yours. put stuff you ACTUALLY WANT to be seen and that you love and appreciate on your blog. no matter how old it is, how new it is, no matter how niche or off-theme it is.

so please. if you really want to show your appreciation for someone's work? you reblog. it's really as easy as that. check the tags. add some when you reblog if you like. but please for the love of god reblog. it's as easy as booping and even more rewarding for the people who you reblog from. if you want to let someone know that their work is genius and appreciate it? show it. reblog. then DM them if you're too nervous to say what you want to say but not in a public forum. but for christ's sake. REBLOG.

[thydungeongal]

I just realized another thing related to that point about "D&D 5e is a nonlethal game where death is the only meaningful consequence," which I think I have articulated before but I think bears repeating.

To tell an extended, linear narrative with D&D is not only going to be fighting against the system itself because character death, and thus the loss of narrative continuity, is the only meaningful consequence, but also because by most modern standards of conventional storytelling characters occasionally need to lose and fuck up.

Modern D&D assumes that players keep on winning, because if they lose a combat encounter it means losing their characters. This means that narrative setbacks often need to be outside of character control and instead of emerging from character defeat have to be the work of outside forces.

It effectively means that gameplay needs to be an obstacle course of combat encounters that characters are expected to win only for them to then stumble into a cutscene where they find out that despite them having won everything the bad guys did manage to do their bad guy thing regardless. Like arriving at their home village destroyed after successfully defeating the evil cult.

As always, the rules of D&D don't necessarily harmonize with the type of story you want to tell unless it's "characters keep on winning but bad stuff still keeps on happening." There are many systems out there that model defeat in terms other than "your character died there goes all our narrative momentum."

[knight-princess]

Ooh this is interesting. It’s adds a whole extra layer of shady (not that the kidnap of children isn’t awful on its own) but using another child as a decoy to keep a different child safe . . . if you suspect a threat to Elora, and you swap her out, you put the child you’re swapping out into danger

Okay, this is a little off the wall but bear with me...

So, it must be a bit of a known thing that Elora Danan has red wavy hair, because otherwise why go to all the trouble of having her dye it?

And what if to keep Elora Danan secret and safe you needed to divert attention elsewhere?

What if you found a little girl, with red curly hair, who was just about the right age, and insisted that she stay by the princess' side, almost like one of your own children? What if you wanted a decoy?

We don't know why Sorsha decided to kidnap a Bone Reaver child, but this one would certainly be convenient...

[yourcutelittlegayfriend]

No More Chances:

Fate's Prologue Assessment

CUT!

Let's review your scrip again, yes?

• Regression is the act of going back or a return to a past.

• You can guess what types of manwha I've reading.

• That's the AU for this fic that I intended for Y/N to have.

• Regarding about their past, I have mentioned that they have been regressing far too many times, reliving a new and yet still old life.

• Answer to why so many resets is possibly because of the 'butterfly effect' or something where even repeating resets can achange the outcomes because of the new actions you perform.

• Y/N might have done something that was different from 'the script' that led to a bad outcome resulting to another reset.

• The past or Y/N's original life is permanent and can never be change.

• Y/N will always come back as the young abandoned orphan of Bruce Wayne, who was neglected and forgotten in favor of his other children.

• Resets can only happen when Y/N is literally killed, Y/N does not have the power to control it, if Y/N want to reset, you know what you have to do, that's the price you must pay.

• Life is precious and if you want to play with it, it'll cost you your own life and sanity.

• I headcannon that death already know about this but decided not to interfer, it's not like you're an actual immortal or anything, I guess you can say you're already punishing yourself by caging your fate in a loop hole.

• Going back to the backstories, everything is a bit blurry but will be revealed by flashbacks (That's what happens when you keep **** yourself).

• Y/N remembers their mother but not her face or voice, they remember moments with them but only the fleeting ones, their touch, the warm kiss on your forehead and the cold hands that touched your bloodied cheek before it drop to the ground.

• Y/N is born and raise as a Gothamite more so on the poorer parts of Gotham.

• It's a bit ironic that Y/N's backstory is almost the same as Bruce if not for a little difference in narrative, A young mother finally earnings extra money from work and took her kid out for some mother and child bonding as a request for their birthday but the night ended with a robber being a little trigger happy and shot the mother in an alleyway grabbing all her money and possesions while leaving the traumatized child to watch their mother's life leave her body.

• Commissioner Gordon arrived at the scene and couldn't help but reminiscent a little wayne boy also sitting on the cold concrete floor of crime alley crying for his parents death years ago.

• Implied that in the next parts that Y/N will become mature and more far off than the other version of her.

• Y/N might be a kid again but they remembered some of their supposed 'ending' and in return gain more than enough trauma.

• It might be a little bit corny or too much but I want Y/N to be a little petty or hateful to the rest of the family in the upcoming interactions.

• Only acting nice and patient around the rest when you face them, they're detectives I know but how are they gonna find out when your fake acting doesn't really matter from the rest of their problems am I right?.

Lil tiny note : I want this fic have a lil angsty with some comedic stuff would that be alright?

That's all I got for now but if any of you guys want to add more traits for your own Y/N you guys can add it down.

Let's take 5!

I'll prepare for your next lines, ok?

〖 = ✧ = 〗

Do you guys want me to tag you on this stuff as well or just on the main story?

[carto0ncritter]

Abusive fictional fathers - Robotnik vs. Stolas

I won't be talking about Coconuts here since he's not on screen that much, but know that I feel sorry for the stuff he's been through, poor guy

Robotnik ⮕ Scratch & Grounder

Like... he literally only created these two to use and abuse them and that's crystal clear

When I say Robotnik is an abusive pos, this is what I mean (and this is just some of the physical abuse, don't even get me started on the emotional):

...Okay, that last picture was the last straw. Robotnik's thrist for power has officially outweighted Scratch and Grounder's "value." He felt 0 remorse for throwing them into the lava. Keep in mind, he THOUGHT HE HAD KILLED THEM and DIDN'T CARE AT ALL. Thankfully they were fine. And no the fact that they're robots doesn't make it any less wrong

If you're willing to sacrifice your children for a powerful artefact, then I'm (NOT) sorry to say this, but you're a heartless pos and deserve to be held accountable for your actions. If I were in Scratch and Grounder's shoes, I would have ran the hell away right then and there and found home elsewhere

However, unlike with Stolas and Octavia, at least the narrative doesn't try to convince us that Robotnik loves his sons. Because if he did, he would have tried to change his behavior. Or better, he wouldn't have abused them IN THE FIRST PLACE! AT ALL! No matter what he had gone through! I'm not denying that his mom was a pos to him just like he's a pos to scratch and grounder, but i refuse to see this as an excuse. he should have tried his best to break the cycle of abuse

*sigh* Now I've gotta talk about that stupid bird man... let's just get this over with.

Stolas ⮕ Octavia

Stolas is shown to have been there for Via in her childhood. although we never see them bond over anything, connect emotionally with each other or spend quality time together, we've only got this one nightmare scene. this was the only time stolas was shown to care about octavia

He did his best to calm her down and make her feel safe, then proceeded to break his promise for a booty call. For a childhood "friend" that his father bought for him 25 years ago.

And you're telling me how Stolas didn't realize that bringing Blitzø along in Loo Loo Land is uh... a bad idea that will make his daughter feel even worse?

I HATE the excuse that Stolas was "just clueless." Because anyone with the tiniest bit of common sense would come to the same conclusion: flirting with your booty call in front of your daughter who is a minor and going through emotional hell that happened because you cheated on her mother makes you a horrible and selfish father.

Even worse is that Stolas doesn't learn his lesson and once again neglects Octavia. Stolas is too busy hating his ex wife and gushing over his abuse victim that he can't even be bothered to look for his daughter himself, and instead Loona has to be the one to go find her. And then she literally tells Via how her dad's trying his best and how she should cut him some slack. No. No she shouldn't. Octavia was right to think that Stolas hates Stella more than he loves her because that's what his actions show.

He can hug her all he wants and promise to do better but he has done nothing to even TRY to be better for this poor girl.

Not to mention that Loona is a hypocrite. Blitzø has always been doing his best to be a good dad to her, and she thanks him for saving her life by being a complete bitch. It's been five. Fucking. Years. Of unconditional love and support from Blitzø's side. And what does he get in return? A kick in the balls. Blitzø also got beat up by her and hit with the "if I'm so terrible why don't you replace me" after he rightfully called her out and you're trying to tell me Blitzø was the one in the wrong and how this isn't abusive huh ok then whatever ya say

I won't talk about the upcoming episode much. I honestly just don't have the strength anymore. But to make it as short as possible, Stolas is gonna be treated like an uwu poor sad gay boi and once again choose Blitzø, the guy he r*ped, over his own child.

If you check out the leaked story boards for s2 ep12, you'll see how disgusting it is that Via is spitting nothing but facts and yet she'll be demonized by the writers, Stolas lovers and Stolitz shippers. Just...

Please stop lying, dude. Just stop. You shattered her entire life and neglected her for a guy you abused and never got to know on a level that's deeper than sex. No wonder Via thinks he doesn’t love her anymore. The line above gives me the same vibe as THIS line also they made Stolas not only ACT like a guy who victimizes himself but LOOK that way too

STOP LYING. JUST SHUT UP.

I hate this self-pitying hypocrite sm.

And yeah, I get it: he was put in an arranged marriage (this was clearly a retcon, but whatever floats viv's boat) despite being gay and was sheltered and never had friends, but those are explanations for his behavior, not excuses.

Oh and, to anyone who thinks otherwise: Emotional neglect is a form of abuse.

Closing Thoughts

One important thing that I noticed with both Scratch and Grounder and Octavia, is how none of them feel at home with their fathers. A reliable way to know whether you've failed as a parent or not is to see how your behavior affects your kid(s). How does your behavior make them feel?

Let's see here... *checks notes*

Octavia says how Stolas ruined their family, not Stella and in ep12 she's finally gonna call him out on his bullshit thank god. but unfortunately the toxic gay ship will once again be a priority because it's gay

Scratch and Grounder are terrified of Robotnik's wrath, he constantly makes them feel useless and unwanted, but at the same time, they have no problem betraying him both of them always come back to him, just like how Blitzø doesn't leave his abuser because he wants to feel "loved" and "needed" for once even though Stolas treats him like shit

So yeah, if you made your kid(s) feel this way, you've officially failed as a father.

[samwinchesterism]

in re: “cas knows dean better than sam”

“cas sees dean as a whole person and sam just sees dean’s façade as his big brother slash parent” but like how and where. outside of your fanfiction. season and episode. scene and line. if it’s so obvious and apparent you should have at least 3-5 concrete examples right? “sam doesn’t know dean carried him out of the burning house” yeah but did cas? outside of a footnote in the angelic manila folder they gave him between seasons 3 and 4 so he could better manipulate him and sam into doing heaven’s bidding? like if you’re going to say “cas knows dean better than sam” than you need to show how cas succeeds where you perceive sam to be failing at the very least. but even your perceptions of how sam doesn’t measure up are so warped, blinkered, and moronic that it wouldn’t even be worth much if you could provide the textual evidence, but at least you’d have a semblance of a point. like say anything without going “as an eldest daughter…” “well my relationship with my sibling isn’t…” please say anything without fucking projecting your own self-pitying crybaby bullshit onto your little woobie dean and using the actual canon text of the show. I’m literally begging you.

like the thing of it all is and always has been that you’re so hell-bent on twisting the sam and dean relationship to fit into this narrow and almost entirely inaccurate mold which is the basis upon which you build the entire Destiel Mythos that you literally lose all sense of media literacy. you don’t even miss the forest for the trees, you miss the trees for like, the pretend invisible things you’re seeing in between the trees, the forest is a whole long way away from your current level of perception. because the Destiel Mythos is based entirely on the fact that dean is Not Seen and Not Appreciated and Not Loved and Cannot Be Himself until cas comes along, and that Family (read: sam) Is Only A Burden on Him That He Must Be Freed From In Order to Flourish, so you keep trying to warp the sam relationship into something that is only one dimension of it – and keep ignoring the ways in which dean is seen, loved and understood within it, because you need to keep lying to yourselves that there is a narrative need to emancipate dean from something that he has never wanted emancipation from because it is ultimately a net good for dean in the particular circumstances of their lives. it’s also profoundly unhealthy, codependent, evil and toxic etc. (a lot more dean’s fault than sam’s but I will nawt be getting into all that right now) but that doesn’t change the fact that sam and dean both know and understand and feel deeply that they are each other’s person – that they know the best and love the most in the world. but that – which IS true canon fact – is incompatible with the Destiel Mythos so it must be ignored and all good sense must be thrown out the window in order to do it.

anyway i digress there are two main categories of Bad Thinking that i will be addressing below

childhood/ “parent/child” / blah blah blah

every single thing people are saying in favour of the deeply stupid thesis in the title of this post is proof positive of the very silly form of ‘analysis’ I just described. a few things:

“wah sam didn’t know that dean carried him out of the burning house :( this means that dean withholds things from sam to protect him because he is a PARENT and sam can only know things about him in the context of him being a PARENT to him” �� what the fuck are you on about genuinely. first of all reducing the sam/dean relationship exclusively to parent/child is in itself foolishness for so many reasons that I don’t have time for right now. but also, it’s clear that this is just something that happened when sam was a baby that just never came up. in the scene (1.09) where this is brought up, dean is mildly surprised that he or john never mentioned that detail and then states that sam knows the rest of the story (i.e. the actual traumatic stuff) just as well as dean does – which is true, demonstrably whenever they talk about it.

obviously there are some things that happened to dean in their childhood that sam doesn’t know about (or didn’t know about, until told in whatever episode they come up in). equally, there are things dean doesn’t know about sam’s childhood, e.g. the fact that he was so lonely he needed a zanna (11.08). or how dean didn’t remember that sam was friends with barry cook until he mentions it when they go back to their old school (4.13). or about the nature of sam’s relationship with amy pond (7.03). these don’t mean that ‘sam withheld these things to protect dean out of parental love’ lol, it’s just that there are details and events in each of their lives that the other happens to not have been told about.

similarly “sam didn’t even know dean wanted to be a firefighter L” girl did dean know sam wanted to be a lawyer? in 1.01 he’s pretty surprised that sam has a law school interview. the point here isn’t “neither sam nor dean know each other well,” these are minutiae that aren’t relevant to how well you know someone as a whole, and very poorly demonstrate the bad and inaccurate point that dean withholds things from sam the way a parent does a child (on a constant or regular basis). obviously the way they were raised, sam was deemed too young to know about certain things until he got older and dean had to keep that secret, but as shown in 3.08 flashbacks, most if not all of this is eventually revealed throughout their childhood when sam is still fairly young.

or possibly the dumbest one is that “wah sam doesn’t even know that dean reads books L” whenever that was he was also obviously joking because in more serious moments (e.g. 8.14) he admits that dean is smart/a better researcher than he is, literally remembers dean reading to him as a kid (8.21) so like. clam down  

one of the extra annoying variants of this type of ‘proof’ covers things that are very clearly novel pieces of information about dean that dean, sam, and the audience are learning about dean in real time. like if you’re actually watching the show to comprehend it as it was intended to be comprehended, instead of funnelling everything through the Destiel Machine until it’s unrecognizable slop that fits neatly into your pre-ordained molds that Make Destiel Necessary In the Narrative (when it actually isn’t, at all) it’s abundantly clear. the top two worst offenders:

“sam didn’t even know that dean is good with kids :( he doesn’t even realize that dean raised him :(” first of all you people need to understand that parentification does not literally create a parent-child dynamic between siblings but I digress – this doesn’t make any sense bro. in 1.03 dean admits he doesn’t know any kids as an adult. dean being good with his own kid brother when they were both kids is to any reasonable person not necessarily linked with him being good with other random kids when he’s an adult. in 1.03 it’s clear that dean himself is a bit surprised that he’s able to connect w/ lucas so well because he’s clearly not dealt with a lot of kids since sam grew up. the whole point of this is that dean, sam, and the audience are all sort of seeing a new side of dean. who again is just 26. after this very early episode, there’s no question from sam that dean is able to connect w kids. sam being a bit surprised by this also has absolutely zero connection with him not understanding or realizing that dean looked out for him when they were both kids – sam is standing there at 22 years of age talking about adult dean and children – of fucking course he doesn’t mean himself are you stupid.

from the very first season, sam is very clearly aware of everything dean ~did for him~ when they were kids, see e.g. 1.21: “Dean...ah...I wanna thank you. […] For everything. You've always had my back you know? Even when I couldn't count on anyone I could always count on you. And I don't know, I just wanted to let you know, just in case.”

and 1.06: DEAN: Well, I’m a freak, too. I’m right there with ya, all the way. (SAM laughs.) SAM: Yeah, I know you are.

and then possibly even more stupidly, the one where it’s like “wah sam doesn’t even know dean can cook :( he doesn’t even know that DEAN was the one making him food as a babe in arms :(” – when sam is surprised that dean made something fairly gourmet and from scratch literally the first time they have ever had a permanent living space with a functional kitchen. in this VERY scene (8.14), dean himself points out that they haven’t had a kitchen before and when sam remarks on the irregularity of him doing serious cooking, he says “I’m nesting”, clearly showing that this is a novel development because they now have a kitchen, and that it’s irregular relative to past behaviour – both of them acknowledge this. because real proper in-depth cooking and making box mac and cheese for sam until he was like 11 and old enough to be left alone are two different things, which sam understands because he’s smart, unlike whoever chooses to make this point. dean never showed significant signs of liking to cook before this, which is what the exchange is about, but he did have to prepare food for them both when sam was too young – of course sam knows he had to, there are childhood memories referred to (e.g. 14.11) where sam is mentioned to literally help dean do the cooking as kids lol (and yes, genius, sam says ‘I didn’t know you knew what a kitchen was’ or something to that effect, but if you think he’s being 100% literal there I have an oceanfront property in Kansas to sell you)

again, obviously there are pieces that sam doesn’t know about dean, e.g. when he’s talking about his response to mary dying in 1.03. but again, Sam is 22, dean is 26, the last time they were in regular contact was when sam was 18-20, these are things that happen when people grow up, they’re able to reflect and share on childhood experiences if they’re close with their siblings as adults. it’s clearly not something that 26 y/o dean wanted to hide from 22 y/o sam. yes sam didn’t know everything about how dean felt when they were young, but that’s equally true in the other direction, and it’s such an irrelevant point in this discussion when, crucially, sam does learn these things about dean mostly fairly early on in the series (i.e. when they’re really not that deep into adulthood yet). cas was also not magically blessed w/ knowledge about dean, he also had to learn whatever it is that he knows, but somehow sam has to know everything about dean from age 7 or it doesn’t count when it’s sam lol.

“sam doesn’t know the One True Dean / doesn’t see through his facades”

the next branch of defending this flawed thesis is invariably that sam has little idea of the fronts and facades that dean puts up and is content to just believe them, whereas cas digs deep and sees the One True Dean that stupid sam always misses. there is nothing in the text that demonstrates this is true. multiple times, we see sam being very knowing of the fact that dean puts up fronts and facades. sam is also knowledgeable of the way dean perceives himself, and – demonstrated in multiple episodes before such sam lines were very poorly recycled and regurgitated into cas’s dialogue in 15.18, but keep acting like that was the first time anyone ever showed that they knew the One True Dean.

Obviously there are times where sam teases dean when he’s being more touchy-feely than usual, but 9.99 times out of 10 (as a conservative estimate in case there's something i'm forgetting otherwise i would say every time) that’s very clearly coming from a place of knowing the real dean vs. the façade he puts up because that’s the whole joke. and it’s allowed to be a joke because they’re siblings and that’s what siblings do lol. esp since sam and dean have touchy feely moments at the end of like every episode.

examples of all of the above off the top of my head (there are more than these, but these are the ones I can think of):

2.02 (about John’s death)

Sam: “I mean this ‘strong silent’ thing of yours, it's crap. […] I'm over it. This isn't just anyone we're talking about, this is Dad. I know how you felt about the man.”

Dean: “You know what, back off, all right? Just because I'm not caring and sharing like you want me to.”

Sam: “No, no, no, that's not what this is about, Dean. I don't care how you deal with this. But you have to deal with it, man. Listen, I'm your brother, all right? I just want to make sure you're okay.”

2.03 (Sam to Dean, also about John’s death): “You know, you slap on this big fake smile but I can see right through it. Because I know how you feel, Dean. Dad's dead. And he left a hole, and it hurts so bad you can't take it, but you can't just fill up that hole with whoever you want to. It's an insult to his memory.”

Note that Dean essentially admits that Sam is right in these two instances in 2.04 bc I know yall have stupid shit to say about john too that has nothing to do with how anyone actually felt about him in canon

3.07 (about Dean’s demon deal – also proven true in later episodes)

SAM: Dude, drop the attitude, Dean. Quit turning everything into a punch line. And you know something else? Stop trying to act like you're not afraid.

DEAN: I'm not!

SAM: You're lying. And you may as well drop it 'cause I can see right through you.

DEAN: You got no idea what you're talking about.

SAM: Yeah, I do. You're scared, Dean. You're scared because your year is running out, and you're still going to Hell, and you're freaked.

DEAN: And how do you know that?

SAM: Because I know you! […] Yeah, I've been following you around my entire life! I mean, I've been looking up to you since I was four, Dean. Studying you, trying to be just like my big brother. So yeah, I know you. Better than anyone else in the entire world. And this is exactly how you act when you're terrified. And, I mean, I can't blame you. It's just […] I wish you would drop the show and be my brother again. 'Cause... (can't find words; tears in his eyes) just 'cause.

5.18 [Sam figures out what Dean is doing re: his plan to let Michael possess him, tracks him down, and eventually is the catalyst for Dean ‘making the right call’, which he predicts] – e.g.:

SAM: No, you won’t. When push shoves, you’ll make the right call

DEAN: You know, if tables were turned…I’d let you rot in here. Hell, I have let you rot in here.

SAM: Yeah, well…I guess I’m not that smart.

DEAN: I—I don’t get it. Sam, why are you doing this?

SAM: Because… you’re still my big brother.

8.14 (basically the o.g. version of whatever went on in 15.18 + sam intrinsically understanding the trials are a death wish for dean): “I'm closing the gates. It's a suicide mission for you. I want to slam hell shut, too, okay? But I want to survive it. I want to live, and so should you. You have friends up here, family. I mean, hell, you even got your own room now. You were right, okay? I see light at the end of this tunnel. And I'm sorry you don't – I am. But it's there. And if you come with me, I can take you to it. […] I AM smart, and so are you. You're not a grunt, Dean. You're a genius – when it comes to lore, to – you're the best damn hunter I have ever seen – better than me, better than dad. I believe in you, Dean. So, please – please believe in me, too.”

10.22 (understanding how much dean has ~done for him~)

SAM: I'm saving my brother.

CASTIEL: You told Dean—

SAM: —I know what I told Dean. Cas, look. I've been the one out there, messed up and scared. And alone. And Dean—

CASTIEL: He did whatever he could to save you.

SAM: Yes. I mean, it's become his thing. I owe him this. I owe him everything.

10.23 (basically the o.g. version of whatever went on in 15.18, x2 – from Sam to Dean): “You were also willing to summon death to make sure you could never do any more harm. You summoned me because you knew I would do anything to protect you. That's not evil, Dean. That's not an evil man. That is a good man crying to be heard, searching for... some other way. […] You will never, ever hear me say that you -- the real you -- is anything but good.”

11.13 (Sam understanding exactly how Dean feels about Amara being his ‘deepest desire’, and confirming that it doesn’t make him a bad person)

Dean: Why? Because if she is that means that I’m…

Sam: Means you’re what? Complicit? Weak? Evil?

Dean: For starters, yeah.

Sam: Dean. Do you honestly think you ever had a choice in the matter? She’s the sister of God, and for some reason she picked you and that sucks, but if you think I’m gonna blame you or judge you…I’m not.

Dean: You know that I want her ass dead.

Sam: Yes. Of course. And I know you’ve also probably beaten yourself up a hundred times over it, but where has that gotten us? (Long silence) Just how bad is it?

13.02 (Sam perfectly explaining Dean’s psyche to Jack)

JACK: Is that why Dean hates me?

SAM: Dean doesn’t hate you. It… Look, sometimes the wires in Dean’s head get crossed and—and he gets frustrated, and then he mixes frustration with anger, and—and fear.

JACK: Why would he be afraid?

SAM: Because Dean feels like it’s his job to protect everyone. And right now, we need to protect you. But we may also need to protect people from you.

14.03 [Sam assesses Dean’s psychological/emotional response to the Michael possession; end of episode, Dean confirms that Sam’s assessment was fully accurate]

14.10 [Sam is the only one able to snap Dean out of his weird Michael mind loop by using their code word]

14.11 [Sam figuring out that something is troubling Dean just based on the fact that Dean hugs him]

15.17 (self explanatory at this point)

DEAN: Chuck has to die. He has to! Otherwise he'll keep us tap dancing forever, and I can't live like that, man! I can't live like that! I won't!

SAM: I know you feel like that right now, okay. I know you do. But you gotta trust me. My entire life, you've protected me— from Dad, from Lucifer, from everything. I didn't always like it, you know, but... it's the one thing in the whole world that I could always count on. It's the only thing I've ever known that was true. So please... put the gun away. Just put it away, and we'll figure it out, Dean, we'll find another way, you and me. We always do.

like maybe there are some cas moments w dean along these lines too. i don't know, i don't remember what the guy says or does anymore it's been too many years and he is not memorable. but the point is where and in what capacity and based on what metric other than the amount of bad fanfic you've read does cas exceed sam in these respects.

so basically just. genuinely, what are you people literally ever talking about. go watch the show instead of saying stupid wrong stuff about sam on the hellsites all day. or watch another show (please for the love of god watch any other show this one is absolutely lost on you and it’s such a stupid one too i'm embarrassed for you)

[theoutcastrogue]

That said, the D&D 3.5 Paladin was bad. It was badly designed, it had bad rules, and in conjunction with the other notoriously bad rule, alignment, it could cause havoc.

Now personally, I never had ANY problems with it in my tabletop games. I played paladins and loved it, and I loved it when other people played paladins, and it was great. But that's because, collectively as a group, we took ONE look at that terrible rule where the paladin's code of conduct prevents them from associating with Evil characters or "someone who consistently offends her moral code", and immediately went, "that's stupid, we ain't doing that, it would ruin the game".

We also didn't love the concept of alignment as a cosmic force, and didn't care for Usually Evil Goblins and Always Evil anything. And when a class's signature ability fully depends on whether creatures are capital E Evil, well that affects storytelling, doesn't it? But we all saw it the same way, and we were happily able to change it without any disagreements. In the end we had a Paladin… similar to 5e now that I think of it: completely ignore the Code's association clause, tailor the Code to personal stance or a specific Order, Detect only fiends and undead and the like, Smite anything you want, Fall only if you really fuck up, and never presume that just because you haven't Fallen yet everything you've ever done is justified and correct and anyone who disagrees with you is objectively wrong.

Basically, there were 2 options in 3.5. You either houseruled and/or handwaved things, and in matters of alignment interpretations erred on the side of "what makes the game go",

OR, you played with Rules As Written, and filled the forums with questions like "should the paladin fall?" (one such thread per week, conservatively), "we got into a fight over the Paladin, what to do?", "is it Evil to pick pockets? because we have a Paladin in the party", "the Assassin uses poison, shouldn't that offend my moral code?", and shit like that. Just... pointless strife, all the time. Again, never happened to me, but I was appalled to read about it, over and over and over.

People got intense with 3.5 Paladins (both pro and against) because it was BADLY DESIGNED and had BAD RULES. Its mechanics forced narrative choices on the entire table, and the only way to make it frictionless was having a party where no one wishes to explore a character's bad side ever, no one does things that aren't bad but WotC branded Evil™ in this or that splatbook, and everyone magically agrees all the time on "what is right and what is wrong" and "what is Lawful and what is Chaotic", which is simply impossible. The most subjective thing in the world (ethics!) was presented as an objective cosmic force, and how you interpreted it would determine how much damage the Paladin deals in combat, and whether the Paladin could keep associating with the party, and if the Paladin is still a Paladin. And all that in a game, let's not forget, whose basic, fundamental premise is "kill things and take their stuff". I'm sorry, this is tremendously stupid. It's the WORST design.

I know that for some people it worked as written, and good for them, but for the many many people it didn't work, well it's obvious why.

[toorumlk]

Hi I'm so freaking obsessed with your twitter.

Also what's your favorite Romione moment in the books and why?

ohohoho thank you, friend, i’m quite proud of some of the stuff i’ve posted on there B)

and as for my favourite romione moment in the books, when i read the question i first blanked out for a couple minutes, thinking of a bunch of smaller, sillier scenes. but then i remembered that i do have a favourite and it’s from chapter 11 of DH, when remus visited the trio at grimmauld place and filled them in on he goings on of the war -including the implementation of the muggle-born registry. ron’s response upon hearing this (after his immediate outrage) was

and it’s not just the hand holding and the “‘you won’t have a choice’ said Ron fiercely” that played out so vividly in my head like this:

but this scene demonstrates so perfectly the political weight of this pairing (muggleborn/blood traitor) which i think is the immovable narrative foundation of romione. all of their silly moments and idiosyncrasies aside, there is genuine narrative purpose behind this love. ron has always had an astute understanding of the blood supremacist politics of the wizarding world (need i remind that he was ready to curse shitco at the ripe age of 12 for calling hermione the in-universe slur) and just how wrong it is. ron is a pure-blood wizard and by design has so much privilege in this society bc of it, but by virtue of having parents like arthur and molly, he’s grown up knowing the importance of fighting against blood supremacist ideology. always.

so, after hearing about the completely horrifying muggleborn registry ("People won't let this happen," said Ron. "It is happening, Ron," said Lupin.), he immediately turns to his muggleborn best friend and love of his life and says “i’m making you a family member, i’m going to use the protection my family-name has and use it to protect you from the awful injustice of our situation, no you won’t have a choice but to let me help you”

i remember having such a… visceral reaction while reading this scene like holy shit .. these kids, THESE KIDS!!!!! this is the bone-marrow-deep love that makes me feel insane. this dynamic of the blood traitor/muggleborn always there, from CoS all the way to the epilogue. We get to see that romione is the story’s pure blood/muggleborn that finally made it (rip jily and tedromeda :(). we see it in hermione keeping her muggle last name after they get married (oh my god these two actually got married) and we also see it in the hyphenated Granger-Weasley (granger being first!) in their kids’ last names (oh my gof these two had TWO kids). they are a true symbol of change and progress in their world.

also this is one of those moments where i’m so glad that our only window to romiones relationship development is through harry’s narration because it so brilliantly shows the readers this blossoming love story instead of just telling us about it because harry obviously doesn’t have access to the inner thoughts of his two best friends, he can only witness them fall deeper in love. showing the audience acts of love is always more powerful and my god is this an act of showing your love to your beloved.

(and not to go on an unrelated tangent, but this is exactly why i could never ship my girl hermione w any DE or DE-adjacent character. no fucking way. not when the concept of a muggle-born registry exists in this universe, not when the antagonists in this story wish to eradicate people like her from their society. idk about the rest of y’all but im going to keep taking the narrative seriously bc the worldbuilding obviously has real world ties/implications and i like engaging with the canon. tangently to the tangent, i saw someone (a ron basher) on twitter say that ron, OUR RON FROM THE ABOVE EXCERPT, was “one bad day away from becoming a death eater” ohhhh ohhh i ought to beat you with sticks bc HUH? this is the same kid who said he would’ve boarded the train back to kings cross if he got sorted to slytherin, the house notorious for birthing DEs, at the tender age of 11)

anyways, all this to say is that romione is incredibly, realistically, materially romantic and i love them and i love their love <3

[if-whats-new]

What's New In IF? Halloween edition! Issue 27 (2024)

By Brij, Dion, Bex and Jen

Now Available!

Itch.io - Keep Reading below

If you read the zine, consider liking the post: it helps us see how many people see it! And sharing is caring! <3

~ EDITORIAL ~

One Issue just wasn’t enough!

Halloween might be over, but not at WNIF! So here it is, u a second Halloween edition Issue! Next to the regular WNIF stuff we included a recommendation section full of the best games to play in this time of the year, so be sure to check it out.

We want some feedback!

As we’re starting to get a hand of things, we would love some feedback from you guys! What you enjoy, want more or less off, how we could improve... Anything goes! We even have a nifty form!

Still looking for members!

Due to the severe changes in the Zine team, we are once again looking for free hands with a couple of hours to kill, and minds, looking to make a little difference in the community!

If you too would like to help us out in a more official capacity, please shoot us a message! You can check out the available positions here, but if you’d like to help in any other way, feel free to contact us as well! (We added a new position, so check it out!)

No Small Talk for some time!

We hope you have have a fa-boo-lous time reading this issue!

BRIJ, DION, BEX AND JEN

~ BE A PART OF THE ZINE ~

THIS ZINE ONLY HAPPENS WITH YOU!

Want to write 1-2 pages about a neat topic, or deep-dive into a game and review it in details? Share personal experiences or get all academic?

WRITE FOR THE COLUMN!

Prefer to be more low-key but still have something to share? Send us a Zine Letter or share a game title for Highlight on…!

WE WANT TO HEAR FROM YOU!

Came across something interesting? Know a release or an update announced? Saw an event happening? Whether it's a game, an article, a podcast… Add any IF-related content to our mini-database!

EVERY LITTLE BIT COUNTS!

Contact us through Tumblr asks, Forum DMs, or even by email! And thank you for your help!!

~ EVENT SPOTLIGHT : BITSY JAM ~

Fuu, already #85?

Bitsy is a little engine for little games, worlds, and stories created by Adam Le Doux that makes game making look easier than ever! I mean really! You can use it to make a game in your browser just by drawing it! Thanks to the simple pixelated graphics and limited colour palette you can make basically anything from simple short stories to complicated masterpieces.

The first jam (with a yummy theme: Breakfast) took place on April 8th 2017. Now it’s a monthly occurrence, each time with a new challenging theme that the creators themselves (or even possibly you) get to vote on.

Petrichor, temporary, intentionally bad, tomatoes, no dialogue, long distances, secret place, bitsy fest jam, lost media and waiting are just the ten most recent ones. This month’s theme is game manual - the theme can be the core of the game, or just a small reference. Anything really. The main point of this jam is to have fun and make something! (Just make sure that your game is made in one of these: bitsy, mosi or bipsi.)

So why not give it a shot?

~ ENDED ~

The 6th Spooktober Annual Visual Novel Jam is over, the winners have been announced and you can check out the results!

The Revival Jam 2024 is also over and the results are out!

Strip IF to it’s bare bones and all it become beautiful text. That’s what The Bare-Bones Jam is about. You can now check out all 14 submissions!

Phantasia Jam is a three month-long game jam to create a fantasy narrative game, with the theme of “Hidden Magic”. There’s 17 submissions to check out.

~ ONGOING (VOTING) ~

The voting for ECTOCOMP 2024 has officially started! To vote and participate as a jury, you must do so by giving between 1 to 5 stars on each entry page of the jam. The voting period ends on November 30.

All entries for the Halloween Jam have been submitted and you can now vote for your favourites!

~ ONGOING (SUBMITTING) ~

Disabled Rep VN Jam has a very simple premise but a very important message.

Once upon a time, a game jam was held to create stories around the theme of fairy tales… and that game jam is the Once Upon A Time VN Jam. It’s running from October 1st to January 31st.

Concours de Fiction Interactive Francophone 2025 is for all French-speaking enthusiasts. Submissions are accepted until March 3rd 2025.

Are you perhaps a fan of more somber, melancholic themes? Then check out the Dying Year - Visual Novel Jam! You have until the end of the year to participate.

The Black Visual Novel Jam is all about working with creative professional developers who work in visual novels to bring more Black stories to life. The goal is to create a space where Black creators can show their unique storytelling through visual novels.

Bare your teeth and sharpen your claws because the Monstrous Desires 2024 Visual Novel Jam is here! Dedicated to the love of entities, horrors, and monstrosities, this jam will be full of romantic Visual Novels (VN) that heavily focus on a monster may it be original or from classics, folklore, modern media, etc.

The October Bitsy Jam is here! The theme is game manual and you have until November 11th to submit your projects.

~ OTHER ~

Jams are a great way to find new games! Don’t be afraid to check out submissions from previous years as well. There might be some gems hiding between them!

~ NEW RELEASE ~

Trick-or-Treat (Twine) is all about virtual trick-or-treating, grab your costume and have fun! @softest-punk

The Traded Groom (Unity) is a romance story where you marry a man you’ve never met. @maneki-mushi

Lydia’s Labyrinth (Ren’Py) is a choose your own adventure where you try to get to the end of the labyrinth. @doublefreegames

The end of an obsession is a fictional sequel work to It gets so lonely here.

The Virus Game HALLOWEEN is here.

In Ghostship Delgado (Amstrad CPC) you find yourself on the quarter deck of a mysterious, seemingly abandoned historic ship…

As always, don't forget to check out the submitted entries to the events mentioned in the previous pages. They deserve some love too!

~ NEW RELEASE (WIP) ~

Camp Maple Wind (Ren’Py), you saw your sister die there 18 years ago and now you decided to return as the new camp counselor. @tailorfae

Dusk and Dawn (CScript) is a urban fantasy inspired by CYOA’s like Slayers V4. You’ve failed college, what do you do now? @tuskhansworld

Circus Eyes of God (Twine) is a horror interactive fiction where you decide to join a mysterious circus. @circuseyesofgod-if

In Tether (Twine) your an interpreter for a new lord under the occupation of another country. Will you rebel? @runcriedthecrawlingif

Return back to your hometown where you and your friends used to be team of detectives until the incident.... in Return to Misty Cove (CScript) @fluorescent-if

In Red River Academy (CScript) you and your group of friends are murdered in cold blood. But you were brought back, is this a second chance at life? @bratlinwrites

You step out for some fresh air, only to find yourself lost and stranded in the forest overnight in Fickle Solitude (Twine)

In Ice Cream For Love you are a bearfolk ice cream maker. However the newest dietitian-in-training has problems with your product. @atelierursine

In Demon Daycare (Ren’Py) you’ll have to baby the adult demon prince Belphegor. Hope the money is good!

~ UPDATES ~

Devil's Liminal (Ren’Py) released Chapter 2.

Crown of Exile (Twine) Vinia Path is released on Patreon. @ramonag-if

Tales of Wocdes: The Silver Protector (Twine) heritage features have been updated. @tales-of-wocdes

College Tennis: Origin Story (CScript) added halloween bonus to Ko-Fi. @collegetennisoriginstory

Sins of the Crown (CScript) added new content to their demo. @pariahinteractive

The King's Hound (Twine) released a rewritten demo. @the-kingshound

The Mighty Shifter (CScript) released Chapters 4 & 5. @miss-briar-novels

Lucid fate (Twine) released Chapters 3 & 4.5. @lucid-fate-if

Eldritch Tales: Inheritance (CScript) released the final part of Chapter 2.

Saturnine (CScript) added new content to their demo. @satur9-if

Shattered: Oblivion (CScript) reworked their prologue.

Strings of Fate (CScript) released partial Chapter 3.

Text Your Life (Ren’Py) added Chapter 2 Day 1 to their demo.

The Good People (Na Doine Maithe) (Ren’Py) released the first five chapters of Shae and Maeve's routes. @moiraimyths

Tri City Monsters (Ren’Py) released Chapter 3 for Akello. @tricitymonsters

Bridge Ices Before Road (CScript) added new content to their Prologue. @bridgeicesbeforeroadif

Aphni's Quartet: Nightbloom's Veil (Twine) released Chapter 2. @marblesstorystudio

The Brightest Stars (CScript) added the first part of Chapter 3 to their demo. @brightest-stars-if

Weeping Gods (CScript) added new content to their demo. @jcollinswrites

~ OTHER ~

The Kickstarter for Keyframes has started, and even though the main goal has been reached there are still some stretch goals! @blankhouse

The ChoiceBeat Zine Issue 12 is out. We thank them for mentioning our Zine! Go check it out!

Amare Fortnightly Bulletin Issue 27 is here for all your romance needs! @amaregames

Never Gives up Her Dead has released a deluxe version of their game.

The People's House has been officially submitted for publication.

~

As always, we apologize in advance for missing any update or release from the past week. We are only volunteers using their limited free time to find as much as we can - but sometimes things pass through the cracks.

If you think something should have been included in this week's zine but did not appear, please shoot us a message! We'll do our best to add it next week! And if you know oncoming news, add it here!

~ MAYBE YOU NEXT? ~

We did not get a submission this week. But if you have an idea for a short essay, or would like a special space to share your thoughts about IF and the community...

Shoot us an email!

~ HIGHLIGHT ON ~

A couple of games that we thought were cool.

Your favourite game here?

Do you have a favourite game that deserves some highlighting?

An old or recent game that wowed you so much you spam it to everyone?

Tell us about it! And it might appear here!

H/T = Horror/Thriller H = Halloween themes S = Supernatural C = Creepy

~ RECOMMENDATIONS (COMPLETE) ~

Halloween Scrooge (H) by Vanade of Hamilton Hour (Ren’Py)

A short Halloween spin on A Christmas Carol... and you can flirt with the ghosts! //submitted by anon//

Killer Chat (H/T) by @rosesrotofficial (???)

After asking too many murder-related questions online (for your book), you get an invite to a... serial killer chatroom?! What the fuck?

A Zombie Head Went Missing at the Party Full of CUTE MONSTER GIRLS!? (S) by MaroonDrops (???)

Half gorgon Jade Mason finds herself dragged to a party full of monsters, she doesn't have high hopes.

Therapy with Dr. Albert Krueger (H/T) by dino999z (Ren'Py)

Has work been feeling more tiring than usual?

Your mood, confusing and uneasy?

Then it sounds like you need our newly patented ★DREAM THERAPY★!

A Series of Interactive Stories Where No Matter What You Do You Are Immediately Killed by a Werewolf (S) by Luke Burns (Twine)

The name just says it all.

AL - A Choose Your Own Adventure (H/T) by Gabriel Cornish (Twine)

You are a student going on their first date in a long, long time. Only problem is your apartment is trying to kill you with your own clutter!

Spooble: A Search Engine Story (H/T) by All the bees (Unity)

Are babies supposed to do that?

Cal's Costume Conundrum!! (H) by amarvelous (Ren’Py)

Which costume is the best? Cal needs to know! Infiltrate her siblings’ Halloween party, interview the guests, and crown a winner!

Restore, Reflect, Retry (H/T) by Natalia Theodoridou (CScript)

This is a haunted game about a haunted game. You've played this game before. You may not remember, but the game does.

Model Employee (H/T ) by Nth Circle (Unity)

If you want to get ahead in your career, you gotta be willing to take some risks.

Contrition (H/T) by akfedeau (Twine)

As a priest, it’s your job to listen to your parishioners’ darkest secrets and absolve their guilt. But when a sinister stranger comes to the confessional one Halloween night, you realize it’s your soul on the line.

Quoth the Raven… (C) by gamedevillibrarian (???)

Edgar Allen Poe's 'The Raven', with some spooky ambiance. What else do you need?

Hallowmoor (H) by Mike Snyder (Twine)

Your quest: infiltrate Castle Hallowmoor, find the potion, and make it out alive.

Keeper’s Curse (H/T) by CParadis777 (Godot)

Stranded on a remote island after your Lightkeeper duty has ended you must ration and scavenge for supplies while awaiting your delayed relief crew.

Dicentra (H/T) by caffeine (Ren’Py)

You play as Basil, a young boy lost in a forest of watchful trees and unfriendly guides.

Tales from Castle Balderstone by Ryan Veeder (Inform7)

This is Castle Balderstone, and tonight is the night when the greatest spook-crafters convene to share their hair-raising handiwork with each other.

Muertos by Medley Games (Twine)

You are a lost undead wandering the Aztec afterlife, only to come across a strange city.

Dawn of the Damned (H/T) by Melancholy Marionette (Unity)

Anxious to attend your job interview at Aurora Antiques, you arrive to discover a room full of melancholy mannequins. One, in particular, captures your interest, drawing you closer.

Seance (S) by Alex Rose (???)

A murder case has gone cold, and the NRPD has asked you to help them solve it, on account of your abilities as a psychic medium.

~ RECOMMENDATIONS (WIP) ~

Samsara (H/T + S) by Amelia (???)

After being killed by the same hands in every past life you decide to take your killer's life instead. //submitted by anon//

Parasitical (H/T) by @parasitical-if (CScript)

You grew up under the masked faces of their Exalted, under the stories of Earth past. Rusted metal and cracked plastic; His bone and His flesh. Conflicting worlds, conflicting times, and soon, it might all come to a head.

Seven days in Purgatory (H/T) by @sevendaysinpurgatory-if (CScript)

Seven days in Purgatory is a psychological thriller ripe with philosophical musings and sensuality.

Taste, hear, think, feel, love… Run. //recommended by Dion [team]//

Did we miss your favourite game? Don’t worry, there’s still a chance! Fill out this form and we will include it in our regular Highlight on.... section!

WE LOVE TO HEAR FROM YOU ALL! WHETHER IT'S GOOD OR BAD, OR EVERYTHING IN BETWEEN...

Thank you for keep updating! I really don't want to miss any IF updates but it's hard to find everything. So thank you for all the effort.

@waywardartisanoafhound-blog

Have something to say? Send us a message titled: Zine Letter!

As we end this issue, we would like to thank:

our awesome anons! For sending us their game recommendations!

And a special thanks to Bex [team] for all the work she’s done for the zine.

And as always, huge thanks to all you readers who liked, shared, and commented on last week's issue! What might be tiny actions are huge support and motivators to us!

Thank you for cheering us on this journey!

~ ~ ~ ~ ~ ~

It come with sad news that me (Bex) is having to leave the Zine….for now at least.

I joined back in August and honestly it was crazy time, especially with the sad passing of Marjorie. I honestly enjoyed what we’ve made of it and don’t regret it in the slightest. Life has sadly go in the way of me and I just don’t have the time to continue you this on. I’m hoping the New Year will bring peace and with it me back to the Zine.

Love you all ❣

And we will see you next week in our traditional colours!

BRIJ, DION, BEX, JEN

WHAT'S NEW IN IF? 2024-ISSUE 27

[stari-hun]

I get having an issue with a lot of “good” ending AUs in Mouthwashing ending with murdering Jimmy or something, but I think the issue should be more with how heavily needed he is for the plot. Like as a fictional story he’s still very important to the message that Wrong Organ wants to tell and the story they wanna show. The point of having no autonomy as a player is to force you to sit down and listen because let’s be real if we had even 2 canon endings then people would go even more stupid than now. Mouthwashing is inspired by real stuff that happens (SA, “holding off” on getting justice for it for the sake of the group, people who ignore the actions rape culture perpetuates then becoming victims of violent acts on their own, etc etc).

We just saw a CEO who’s indirectly responsible for the deaths of thousands of people being murdered and the public response that followed. As a society we’ll literally always question whether or not the death of someone bad is a good thing, but we’re much more likely to have outcry with it when it’s so blatant. Someone dying behind closed doors or “softly/peacefully” , generally a non disruptive death to the general public, it’s held with significantly less outcry. A lack of tension doesn’t guarantee the presence of justice.

I think that Jimmy being killed to save the group should also be recognized as an equally viable option in the same way Curly’s decision to hold off on angering him more until they got back to safety was valid.

Curly holds a very important role as the Captain of the Tulpar which at the end of the day means that no matter what any and all mishaps ARE on him. Being a leader means taking on the responsibility of care for others, and considering him being the sole member kept by the Pony Express, Curly was GOOD at his job. With all the fights we see between Daisuke and Swansea with him trying to chase Swansea away? Keeping them together for months was a pretty great feat. Anya asking Curly why there’s no locks on the doors of the sleeping quarters is a very significant moment, and there’s a reason why the majority of women who do playthroughs instantly understand the implications while men don’t. It’s also a big part of SA culture. Despite the very real chance of men becoming victims too, it’s something they just aren’t taught to fear or think about as a possibility. It never crosses their minds that that will happen to them or someone in their general vicinity if they “know” everyone. It’s the concept of every woman knowing a victim but no man knowing a perpetrator. Curly genuinely and fully believes in Jimmy’s potential and personhood after knowing him for so long even though logically he’d have the most exposure to Jimmy’s aggression and seeing the way he treats women. As a Captain, it’s Curly’s fault for not connecting the dots or noticing what was going on, or taking more action from the start with the way Jimmy treated Anya despite the fact that Jimmy was more than likely passive aggressive towards Curly as well. Albeit for extremely different reasons with Jimmy looking DOWN on Anya for being born a woman while he dislikes Curly when he perceives Curly looking down on HIM for having more success in life. It’s no coincidence that Curly’s narrative “punishment” is being robbed of his autonomy and choice like Anya was.

The role of taking leadership and looking out for the bigger picture as a whole and ignoring a dead pixel or the unimportant things until perceived bigger issues are taken care of is the JOB of the Captain. For what Curly knew, Jimmy was a problem but hadn't escalated past what he had ever directly seen of him doing, he was in check. When he's a potential threat it makes sense Curly chose to wait until they were in a safer location than closing in on an asteroid field, but ignorance is also a sin especially when you're proven to be a good leader in all other moments.

[coffin-ramblings]

Ashley is "very not good" and "in fact very bad". That is what the promo card tells us.

The flippant attitude to cannibalism and murder, the abuse and manipulation of Andrew, and constant death threats to Julia prove that, so why do they need to say that? Isn't that enough to prove that she's a bad person? On the same promo, we are told Andrew "exists" and is a "doormat extraordinaire", which while true, is a lot more complicated than it looks. He does not just "exists", he was the one who raised Ashley thus one of her "creators", and he is not that much of (if he ever was) a doormat extraordinaire, he lets Ashley make the choices because it's what he wants, and has asserted power several times throughout the game for his and Ashley's benefit. So is what the promo says about Ashley completely true in light of that? Is the truth perhaps a lot more complicated, as it was with Andrew?

Furthermore, it's quite odd how Ashley is quick to accept being called a "tar soul" and how she implies she's a bad person too when she and Andy buried Nina's body.

And in Decay vision, if she kills Andrew, she goes on a rant about how she's glad he's dead, despite it clearly being the worst thing she has ever experienced.

While it's easy to think that she's having a mental breakdown and saying stuff out of madness, I have seen someone (can't find the post though) argue that this is Ashley's attempt to continue her self-narrative that she is a "bad person". She believes no one likes her because she's a bad person. She thinks not even Andrew likes her, and she "has to" drag him the "good person" to be her level of the "bad person" to keep him stuck with her. And when she kills her brother, her parent, her best friend, her soulmate, her everything, she immediately jumps to the justification that she is glad that he died instead of being devastated that he tried to kill her, because bad people can't feel remorse and heartbreak from having to kill someone they love, right?

And I'm inclined to agree with them. Ashley's thought process of pranking Nina is that she'll have her back as a friend after she learns her "lesson", even though she isn't happy being constantly left out or avoided by her.

She didn't hate Nina then, she was afraid of being even more lonely than before if Nina takes Andrew's attention away from her. And her initial reactions to Nina's death was to go "oops", try to justify why she died, cover it up by burying her, and after she's buried, Ashley says that she can just forget about her by not thinking about her for a long time.

That is not the reaction of someone "bad" reveling in their victory of an innocent person's death and trying to get away with it, that is the reaction of a kid who went through something traumatic, not want to get in trouble for it, and trying to rationalize it with something that sounds like an adult in their life (Renee?) would say. Then their brain triggers dissociative amnesia because remembering it would cause great stress and PTSD. Given how stressful Leyley's life was and still is, it makes sense that's her brain's main coping method, and Nina's death was just another instance of it shunting trauma away in an attempt to keep PTSD from happening. It is likely that amnesia made Ashley quite forgetful, as dissociative amnesia does not affect just one singular event, it also affects other memories as an overprotective measure. This also may be why she develops such a flippant attitude to their crimes: joking about them helps her not have to confront the weight of what they just did. Thus, even that attitude being a marker of her being a "bad person" is more questionable. Really, her actions that have the intent to directly harm people are what her make a bad person, but I digress.

The idea that her flippant attitude is perhaps not a good marker of her being a "bad person" is best shown in Episode 1 after they eat the neighbor. Ashley is made aware that her devil-may-care attitude is quite abnormal and worrying for Andrew, which worries her. If she talks before going to bed, she gets visibly confused and worried at Andrew saying she needs to see a professional.

When he later asks how she's so unbothered by the cannibalism, she replies she says she compartmentalizes nervously, which she then follows up afterwards with a joke to not have to dwell on it.

That specific coping method of compartmentalization is the same thing Andrew's brain does in his dream in Episode 2, where it ends with him having a flashback of burying Nina.

In fact, it's interesting how we never get to see adult Ashley's every day psyche. This is not the same as seeing her thoughts and perspectives in the waking world, nor is it the same as the Burial vision where it's Ashley's self-narrative of her life from childhood to adulthood and how she potentially changes it. We never get to see her dream without it being a vision, a glimpse of what her mind looks like in the present processing her experiences in the every day and the past.

This is particularly crucial because while Nina appears while Andrew's brain is doing its standard compartmentalizing of Andrew's current stresses, the only times Nina appears in Ashley's head (outside of Burial vision) were flashbacks of when she is doing this as a child. While it's framed as the moment when Andrew "proves" his devotion to her, flashbacks similar to PTSD ones can happen alongside dissociative amnesia, and they do occur in dreams. Even though Ashley has forgotten Nina's name and eyes, she is always there, haunting her dreams.

This all suggests that the plot twist of our perceptions of the characters in episode 3 is that when we finally get to play Ashley in her normal dreams or see her mental breakdown (maybe if she kills Andrew?), we find out that she feels some sort of guilt for Nina's death and perhaps their other crimes. Even though she insists to herself she doesn't feel guilt about that because she is a "bad person", it is all a lie that she manages to convince to herself and the audience. This would be very shocking as we're in her head a lot of the time, so we'd assume she can't lie to us. But she has all along, just like how Andrew has to us.

[olderthannetfic]

https://olderthannetfic.tumblr.com/post/773816990485889024/i-disagree-with-tumblrs-general-approach-to

I'm not going to coddle TERFs just because they have trauma, I'm going take a hard stance against them deliberately traumatizing more people.

No one gets a free pass on viciously attacking innocent randos, and this goes double when they're carefully and meticulously selecting targets who are especially vulnerable. This stuff is planned and carefully deployed, it's not just random upset flailing.

And no, very few people actually think that what's wrong with TERFs is that they don't want to have sex with trans women. That's what the TERFs say to get you to feel bad for them and to paint trans women as sexual predators. There is some "hmm, that smells terfy" that goes around when someone is a little exuberant on what their own preferences are, and we could stand to look a little closer and sift out the poor wording from the actual violent bigots (and we also need to remind people that lots of trans women don't have dicks and lots of women who do have one enjoy sex that doesn't involve it), but the problem with TERFs, and what we mock them for, isn't that they're not keen on dick, it's the premeditated and carefully crafted violence.

--

It's ironic and horrifying how the narrative keeps being dragged back to ~waaaah, assaults in bathrooms~ by asshole bigots when what actually happens in real life is trans women being murdered there.