#because yeah. Yeah. that is how you do motif

[onyx-is-a-loser]

!! SPOILERS !! Arcane: Season 2, Episode 7 (LONG A- BRAINDUMP)

Found this in my drafts and it’s kinda too funny not to post (sorry if it makes no sense, I was very emotional)

LITERALLY the most emotionally violent thing I’ve ever experienced and I NEED to talk about it:

OKAY so like, Ekko wakes up in this dream world where everything is perfect and I’m like "aww cute, it’s like a Hallmark movie," and then 2 SECONDS later “WAIT NO, THIS ISN’T REAL, PLEASE DON’T DO THIS TO ME” because the moment he gets comfortable, the show’s like, “LOL nope, here’s reality, have fun with the trauma, buddy.”

THE CONTRAST. THE JUxtaposition of dream vs. nightmare?? I can’t breathe.

I’m screaming because Ekko’s dream world is all golden light and perfect and everyone is alive, and I’m sitting here like “YES, PLEASE LET HIM LIVE IN THIS ALTERNATE UNIVERSE WHERE HIS FAMILY DOESN’T DIE” and then reality is sharp and cold and cracked and I’m CAN YOU PLEASE NOT JUST SHOVE THIS MUCH PAIN INTO MY FACE???

The clock motif is an entire thesis on grief and time, why is this show so goddamn smart?? Ekko’s dream world is a pristine clock, but the real world is “lol no time doesn’t work that way, here’s a broken, rusted piece of trash” and I’m sitting here like, YES, tell me more about how time is a construct and I’m crying because none of us can go back and fix things. THANKS, ARCANE, FOR THE PAIN.

ALSO

Powder in the dream world?? She’s soft and innocent and I “holy SHIT this is the Powder we could have had, this is what she could have been if everything wasn’t so messed up,” and then I blink and she’s Jinx again, chaotic, explosive, neon nightmare fuel, and I’m just lying on the floor like "why do I do this to myself." I LOVE HER DONT GET ME WRONG BUT I ALSO WANT HER TO BE HAPPY

And don’t even get me started on Ekko and Powder dancing like it’s some kind of tragic, beautifully animated nightmare. I’m crying, I’m sobbing, I’m screaming, because this is the kind of thing that could have been real if the fate of their world didn’t DESTROY THEM. Who hurt you, Ekko? WHO HURT YOU BOTH??

The soundtrack in this episode is too much for me to handle. It starts off all soft and whimsical like “oh, this is nice, everything’s fine, I’m fine,” and then—BOOM—reality hits and I’m curled in a ball crying because it feels like every note is punching me in the gut. (This will definitely be a separate post)

There’s just so much GRIEF in this episode. Like, Ekko doesn’t want to leave the dream world because it’s everything he ever wanted, and honestly, I GET IT. Who wouldn’t want to live in a universe where your worst trauma never happens?? But then he HAS to leave because it’s not real, and reality is just there, waiting to crush you like a hextech bomb.

And I swear to god, the entire episode is a metaphor for “it’s not your fault, but it still hurts, and you can’t change the past, and that’s the worst part.” So yeah, I’m just sitting here trying to figure out how to recover from this emotional rollercoaster that is literally breaking my brain.

Arcane is a work of art, but it’s also a weapon of mass destruction. And I am DONE.

[eliotquillon]

after watching 4 whole seasons in less than 2 weeks i think house md is maybe the perfect example of why we need to bring back 20+ episode seasons. like yeah sure there's a very clear formula but: there's time to add sub-arcs! motifs! weird experimental episodes! the season finales actually feel like season finales because there's enough episodes in the rest of the season for the characters to have chances to breathe without sacrificing the momentum or wasting time. it actually feels like there's a passage of time happening without the need for explicit mid-season time skips or exposition dumps because, guess what, the season is long enough that time actually IS passing. when characters change their hair or visibly start to age it feels normal because again: time is actually passing in-universe. i yearn for the days when television actually felt like its own distinct thing!!!!!!! i also yearn for lisa cuddy but that's not the point here.

[youandthemountains]

it probably is insane how much I wish I could express the thing about spones. the vibes about spones. Like there's the joking fun fandom vibes and I love them, I love to play with them, of course of course. but the THING. the CORE to me. i wish i could capture it and share it.

[mc-critical]

1.10 / 1.09

[feliciadraws]

👁️ W I T N E S S 👁️

- I've been meaning to do something with Onmyoji, the awesome @bamboorocket's Lancer AU!Waka, for a while now, but since it's Bamboo's birthday I went ahead and did a thing inspired by the current campaign she's playing him in as a birthday present!

So without further ado, Happy Birthday to the awesome @bamboorocket! Thank you so much for being one of the coolest, most awesome friends I could ever ask for 🎂🌙✨

[vulpinesaint]

the sheer number of incredibly intricate worlds and characters that i have created with people who i am no longer friends with so that i can no longer talk about those characters or use those settings. i only got half the dog in the divorce do you know what i mean

[ourceliumnetwork]

oh shit y'all.

i've done gotten invested in Gurren Lagann. we're like 19 episodes deep in this paint and i have been emotionally compromised by the silly mechs.

believe in the me.

[goatmilksoda]

When you go through the entire aesthetics wiki and look at all the new-ish ones that have specifically developed on Tumblr, TikTok, and Pinterest, you start to realize that they can really be put into three categories like 75% of the time because people choose the same music constantly when they're making -core playlists so they all fit into either "Soldier, Poet, King", "Bubblegum Bitch", or "Sweater Weather".

[fandom-hoarder]

Genuinely thought you meant nauseous with horniness and was like, yeahhhh exactly 👁👄👁

idk how dean fans do meta I started thinking of "daddy's blunt instrument" vs dean being michael sword and immediately got nauseous

[poppitron360]

Thinking about names having power in the Riordanverse- because it’s exactly the kind of literature motif that I LOVE.

Thinking about “Leo” being short for “Leonidas” who was a Spartan King who sacrificed his life fighting to save his people in the Battle of Thermopylae.

Leo, similarly, gave his own life to stop Gaea and save the world.

That comparison has already been made before, but there’s more-

Leo rejects the name “Leonidas” and chooses to go by “Leo”- in a way, rejecting the fate he’s assigned to. And he doesn’t suffer that fate in the end. He lives.

Yeah, names have power. But what you choose to name yourself has even more power. For example, the fact that Thalia rejected the last name “Grace” because it associated her with her mother, but then taking it back up again when she found out Jason was alive. And Leo chose to not go by “Leonidas” and he also chose to take the physician’s cure and come back.

And here we get onto what Calypso’s doing. By calling him something that he asked to not be called, she is taking away that agency of choice. She is taking away that power.

It’s a small moment, but it REALLY bugs me. Because, like Leo, I go by a shortened version of a longer name, and often one of the ways bullies used to hold power over me was by calling me by my full name repeatedly, even after I asked them to stop. It’s also a way a lot of transphobes hold power over trans people- by deadnaming. By taking away the power of their name, their choice, their identity, who they are, who they’ve built themselves to be, and their right to control all of that.

Now, I’m NOT saying Calypso is going as far as deadnaming Leo, but it’s a similar premise. It’s a manipulation tactic used to knock people down.

Now friendly nicknames -e.g. “Seaweed Brain”- are different, because Percy consents to it. It’s a term of affection between them (and notice how it’s different when Thalia used it. It’s a name that symbolises percabeth’s love, and it’s a name only Annabeth can use). But this is a name, while said in a jokey, banter-y manner, that Leo has SPECIFICALLY ASKED to not be called. And she does it anyway, ignoring the boundary he’s set, ignoring his choice to shape his own identity, ignoring everything that symbolised INCLUDING the fact that it’s literally Leo saying “I choose life” by rejecting the name that fated him to death. It’s just a big red flag for me. And if you put that on top of the fact that she also physically hurt him in this (enough to make him say “ow”) then you just get a whole host of Reasons Why This is NOT Leo’s “Happy Ending”- which the narrative paints it out to be.

[strawberry-halla]

yeah alright chat let’s buckle down and psychoanalyze the veilguard ‘atonement’ ending theme!

for those who wish to listen along, the lovely amazing ghil dirthalen was able to capture the music (bioware for the love of god PLEASE release this track i will sell my soul for it) on her youtube channel, here!

i am not a music professional! these are things i picked up on listening to the theme by itself and watching the ending. i try my best to identify instruments so i will make errors in correctly identifying them. please educate me if you know more than me! i don't want to discredit anything used here!

alright let’s get into it!

0:00 - 0:47

plays right after defeating elgar’nan, this is the dread wolf theme as solas is staggering down the steps monologuing to rook about how his plan to tear down the veil must go on.

rook intercepts the lyrium dagger and here is where they make the choice to either trick, fight, or redeem solas.

0:48 - 1:18

the music is tense, but the dread wolf theme slows and starts to morph into something else.

rook turns to solas, saying how they do not wish to fight him and are given another dialogue choice after choosing the ‘redeem’ option.

1:19 - 1:30

the music sort of dins out here to just the cello/violin(?).

rook is telling solas that his plan to bring down the veil is not what he needs to do nor is it in HIS best interest. i think the music fades out here because the three dialogue options you're given are very powerful in their wording and needed to be amplified.

1:31 - 1:57

the violin/cello(?) starts off and you can hear some notes resembling the inquisition theme. this is solidified by the harp joining in and then you hear notes of someone singing like the well of sorrows theme from inquisition. i like to think this is solas fighting with himself thinking of his time during inquisition (and with lavellan) and the well of sorrows theme is both playing as solas's unyielding devotion to mythal.

solas is given the lyrium dagger to make his choice. he looks down at it, and for a brief moment you can see him tapping the blade with his finger. he's pondering this plan. he looks up at rook briefly before looking back down at the dagger again. solas looks like he's going to say something, but turns away from rook and starts to walk up the steps.

1:58 - 2:05

the harp plays the inquisition motif, or at least a very short brief version of it. you can hear the singing still as lavellan steps into the doorway and looks up at solas.

2:06 - 2:23

the violin plays as solas finally reaches the top of the stairs. it almost sounds like it's pulling? it changes notes almost as if it's changing direction. solas fighting with the idea of tearing down the veil or binding himself to it.

finally he says he can't bind himself. that 'to stop those would dishonor those i wronged to come this far.' i don't know what instrument it is, i think it's a woodwind instrument and a rainstick? plays as solas says he can't bind himself to the veil. he chooses to persist in his plan despite being given a way out.

2:24 - 2:28

GOD THIS PART. the choir builds as the inquisitor's voice cuts solas off. this same string of notes sung is often used in inquisition when the inquisitor comes on screen in the past.

no other instrument is played here. it is just the voices of the choir.

'vhenan...'

2:29 - 2:37

one note of the piano drops as soon as solas turns his head from lavellan in shame. this was exactly what he feared, letting her see him like this. the inquisitor starts trying to reason with solas: 'you think you've gone too far to come back, but you're wrong.'

2:38 - 2:53

alright SO this part is EXTREMELY important and also INCREDIBLY hard to pinpoint but if you go back and listen to inquisition's 'thedas love theme' you CAN hear parts of it interwoven in this section. the cello is so overwhelming because the inquisitor is pulling solas away from his plan again.

he's wanting to listen but he's fighting so hard because he doesn't think he deserves this. even after lavellan says she forgives him! solas doesn't think he's worthy of her.

2:54 - 3:20

the cello is pulling faster to add tension to this part because once again solas rejects even the love of his life's plea! you become hopeless thinking that their love never mattered even against the fate of the world. solas says he cannot because he feels like he NEEDS to avenge mythal by bringing down the veil. he's bound by duty and pride, there is no wisdom here.

3:21 - 3:55

ALRIGHTY FOLKS THIS PART HERE OHHHH MY GOD. so the cello swells again because solas is about to tear down the veil it seems for good, because if not even his vhenan can convince him, who can?

morrigan shows up, and as soon as she stands before solas you get slammed with all three games' themes at once! first you hear origins and then 2, and then finally inquisition all interwoven together. this part is SO insane to me. holy shit!!!!!!!

i just want to say even though we are talking about the music, you will see that morrigan, rook, and lavellan are lined up from left to right. past, present, and future. i am so fucking feral over that. they did that on purpose i don't care what anyone says. anyways! back to the music.

3:56 - 4:20

the choir again! holy fuck! you can hear da2 and a little bit of origins? at least i think it's that. this is played as rook hands morrigan mythal's essence and she channels it for mythal to appear before solas. literal chills babes!

4:21 - 4:55

DO YOU GUYS FUCKING HEAR TRESPASSER? BECAUSE I SURE FUCKING DO. HOLY SHIT. I CANNOT EVEN DESCRIBE TO YOU WHAT THIS MEANS. lost elf. solas is lost. he's lost EVERYTHING up until this moment. his family, his friends, his soulmate, EVERYTHING. he's like a sad, lost, child in this moment.

anyways! lost elf starts off really quiet and slow and deep as mythal lays out her wrongs in front of solas, showing him that he alone was not the pariah of this story. mythal reminds him that she also committed the same wrongs as he did, it's not solas's alone to regret. she was there too. if not for her, solas would not have done what he did.

4:56 - 5:22

lost elf is still playing very quietly in the background! as soon as mythal appears the cello is more carefree, flowing, free! solas is free now! lavellan KNEELS before him as solas breaks down, an immense weight falling off him as he's finally free to be who he chooses. no longer bound by pride and regret.

solas stands up and realizes that what he wants is to atone. to fix his mistakes the right way, not the way mythal would have wanted or his pride would want. his wisdom sees that if he uses what he knows, he can at least start to mend the past wrongs.

5:23 - 6:02

ugh i don't know who let hans zimmer absolutely fucking COOK here but the cello starts to move faster in a more hopeful, determined state as solas binds himself to the veil and promises to soothe the titan's dreams, help find a cure for the blight, and atone for all his mistakes. it really fills you with a sense of relief and pride for him! like yeah babe you do that! proud of you!!!

6:03 - 7:14

ok so i actually have been crying the entire time lol! i literally cannot stop. so this part! so many big feelings. lavellan steps up to solas, telling him that he won't make this journey alone. the main chorus of lost elf starts to play and i cannot tell you when you hear the cello and the fucking violin start playing TOGETHER because solas and lavellan are finally TOGETHER after being literally put through the fucking wringer for 10 fucking years.

and the SYMBOLS CRASHING TOGETHER WHEN THEY KISS IS JUST HOW I FEEL ALL THE TIME ABOUT THEM. lost elf is THEIR theme. this is not just solas's theme anymore this is solas AND lavellan's theme. they made it their theme. this is about them now, your honor!

alright so that's how i feel about all of that because this theme literally has rocked me to my core. the entire sequence is insane. the past motifs of the past games being used destroys me. and then lost elf comes in and just smacks the nail in the fucking coffin.

thank you bioware for absolutely destroying me 10 times over with this theme. and thanks to all the people who actually read my insane ramblings! i will never shut up about this sequence for the rest of my life.

[cutesilyo]

the thing i really like about just for once in nerdy prudes must die is that it's best iteration of the musical within a musical trope that has become characteristic of the hatchetfield musicals

like both show-stopping number and deck the halls (of northville high) are catchy songs from in-universe musicals that were very much written to have plots that suck

and show-stopping number was so well-beloved because it is, frankly, a hilarious scene that robert manion put 100% into

but i argue that only just for once is thematically relevant to its musical and fully emblematic of the wants and desires of the character singing it

because what is just for once, as a scene? it's ruth singing a song because she thinks she's got a chance of doing it better. it's ruth singing a song about a character who looks back on the mundane miseries of her lonely life and — at the last second — remembering who she used to be before the pain set in. it's ruth singing her version of cooler than i think i am and reflecting on how she is perceived and wondering what it takes to break away from it. it's ruth singing right after she says, "in my dreams, i'm the star of the show."

of all the losers that max jagerman victimizes, only ruth says who she'd like to become beyond that. where pete can't even admit to liking steph at gunpoint and richie doesn't ever get the chance to verbalize what he wants, ruth gets on the stage in the few minutes of break time and just for once, the spotlight is on her.

and the really crazy thing about just for once is — it has the "i'm not a loser" motif. possibly the most iconic and important motif of the whole musical, it's the motif that starts the opening number. and here it is, in the silly musical within a musical by the silly character who has — until this song — always served as comic relief.

in the climax of the song, just for once is no longer the song of a character from the barbecue monologues. it's ruth's. in those few seconds, it's her lamentation of the life that max jagerman forced on her.

but that's the thing about the "i'm not a loser" motif. the way it functions in the musical is as a harbinger for max's violence. the police at the beginning ask, "what the hell happened here?" and its the motif that answers. pete is the first character that sings the line and is immediately beaten up by max in the next scene. then richie sings it and max kills him in the same song. when ruth has the motif running as the crescendo to just for once, it sounds absolutely incredible... and it should come as no surprise when max appears shortly after.

(as a quick note: you can also hear the motif after max makes the car crash, then max appears two scenes later. you then hear the motif in the cooler than i think i am reprise and max also appears right after the song. it's like max is instantly summoned by any instance of the losers trying to shake off the role he placed on them — of trying to defy him.)

tl;dr: the inclusion of the "i'm not a loser" motif in just for once makes it the big lipped alligator moment that wasn't. like yeah, it accomplishes its goal in being the funny musical within a musical trope! the character acting makes it a funny song, and its a funny character performing it! but it also furthers our understanding of ruth AND of what the "i'm not a loser" really is: it's the characters trying to develop past being nerdy prudes and max doing everything in his power to prevent that.

and it does all that while being a banging musical tribute to stephen sondheim and, especially, his song the ladies who lunch. which in itself is a massive flex on jeff blim's part. what a brilliant song in a brilliant musical.

[darkcircles4lyfe]

it's a story about hands (reprise)

Yeah, okay, today's the day.

I gave my blog that title for a reason, you know, and it has loomed over me for years because the hand motif is absolutely everywhere and you could go on about it forever.

Maybe that's something I'll never actually attempt to do, but this chapter, we reached a breaking point.

Before I continue, I need to give a big, big disclaimer: I do not have a physical disability, so I'm not able to speak about that from the standpoint of representation as a first-hand perspective. I have at least listened to enough disabled people to know that fictional characters who become amputees only to miraculously gain their limbs back is, um, a trope. Disabled people in general being "healed" is a conception we would really prefer to avoid here. Not to call people out, but I don't think we're giving enough space to acknowledge that.

I don’t feel comfortable making the judgement call about what should happen. I’m leaving that open. I also don't want to downplay people's emotional reactions. Honestly, I don't know if I can accurately define the line between acknowledging real pain vs. ableist pity. But I’d like to talk about the possibilities of what could happen. Other characters have definitely gotten permanent disabilities as a result of their hero work, or even just the side effects of their quirk. But, for better or worse, I don't think this case is really about representation. Not that Horikoshi won't do that justice. He might. What I'm saying is that's not his purpose for having Izuku lose his arms. It's meant to be symbolic, so we can explore what it means. The other thing I’m keeping in mind here is that Horikoshi is notorious for playing with our expectations, like, alllllll the time. I mean, just take a few chapters ago for a classic example. Eri appeared at the end, and we all assumed she was about to take some sort of action to save someone with her quirk. Then, immediately following, we were given an explanation for why that wouldn’t be happening. And now it’s clear he wanted to do that “fake out” not just as a silly cliffhanger prank, but specifically so we would know not to suspect that Eri could be the miraculous solution to Izuku’s loss of his arms. Rest assured, there is no easy way out of this.

The expectation at play in this particular instance is an old one. It’s very understated, but its subtext has burned so brightly, you’d be a fool not to notice it. It sits with anticipation like one half of a call and response. Man, I was so certain. Lots of people still are. I was really looking forward to printing the panel where it happened onto a t shirt and wearing it proudly. All the hand motifs in this story radiate thematically from a single moment, the one that started it all for Izuku.

It raises all kinds of questions about the act of saving, who needs saving, why, what does it mean, what are the dynamics of power, politics, honesty, exploitation, compassion, pity, disdain, sacrifice. Katsuki has dealt with many of these since he first rejected Izuku’s hand. While Izuku was the one who was convinced Katsuki would keep on rejecting him…

…Katsuki was the one who kept that moment in his mind all these years and eventually came to regret it.

Katsuki is the one yearning for that hand-hold, the one who has imbued it with so much more weight than it ever originally had. Izuku, in contrast, does not allow himself to dwell on what he wants. To illustrate this difference, we need to look at another piece of foreshadowing:

Ugh, do y'all remember when lots of folks were complaining about how there never seemed to be actual consequences for Izuku's destructive treatment of his own body? I don't blame them, I was concerned and confused about it too. There were several "fixes" along the way. Recovery Girl healed him, but left a physical reminder. Then he started training to fight with his legs… sometimes. Then he got support items. All of these were unsatisfying non-conclusions because they didn't present Izuku with a lasting enough impression to change in a meaningful way. They didn't address his core, his origin.

Of course, that all changed this chapter. Now it looks like our frustration was inflicted intentionally. With the current context in mind, all of these moments look more sinister, like this day was always gonna come because they kept putting bandaids on a deep emotional and psychological wound. The problem is pretty much spelled out for us here:

As Katsuki put it, he just doesn’t take himself into account, ya know? He doesn’t care what happens to him. And he lies about it, to keep others from worrying, to keep them safe. To keep them from returning the favor and putting themselves in harm’s way for his sake. His motivations are noble,

…but what about the little boy inside Izuku? Who saves him?

This is all about Izuku giving himself up to the point that he literally has no more to give. The thing is, I bet he saw this coming. He knew his limits and decided to keep going anyway, because his personal safety and wellbeing are not important. Now that way of thinking has come back to bite him because the fight isn’t over yet, and he’s already made his sacrifice. So now we know who will be more distraught over this. Not Izuku—Katsuki.

It’s not about Izuku becoming disabled, it’s about how Katsuki wanted to use the intertwining of their fingers to communicate that he would never let go. Never stop valuing him most. Never let himself make the mistake of rejecting him again. Never let Izuku be so reckless with his life. To say: “we are in this together.”…if only Katsuki believed he deserved to be able to say such things. To reach out his hand would have been the ultimate way to simply imply them and let Izuku be the one to decide. Then, to feel their hands clasped together would be more than either of them dared hope for, but so beautiful, so right. A moment they’ve waited their whole lives for.

Yeah. That’s what we were expecting. We’ve been so comfortable. Horikoshi gave us all the signs. He tempted and teased us over and over. BUT. You know he does this thing were he gives us a desirable, completely plausible and simple thing to look forward to, and then he snatches it away. And THEN he replaces it with something much better, something we were not expecting at all because it seemed too good to be true. That’s exactly what happened when Himiko snatched Izuku away, and we were robbed of the chance to see him and Katsuki fight together. In hindsight, though, I’m glad things went a different way because now there’s so much more depth and angst on display. Likewise, in the present moment, we may consider how, as one door closes, another opens.

As wonderfully meaningful as the hand-hold would have been, perhaps it is still too simple a resolution for Izuku, for his and Katsuki’s relationship. Tbh, it could have been done like 100 chapter ago. At this point, there’s so much more potential. There are a couple of ways it could go. If Izuku stays armless, Katsuki will be forced to use other methods to get his point across. He’ll have to do something else, or say what he means, or both. Yes, I’m talking about what you think I’m talking about. If I say it, I just might jinx it (lol), but I mean it. I’m being serious. Either way, if Izuku did get his arms back in the end, I’m sure that it wouldn’t be an easy fix. It would be hard-won against Izuku’s self-destructive mindset, and/or by Katsuki’s conviction. Again, I say this knowing it is not meant so much as a representation of disability, but as a representation of Izuku’s greatest character flaw taken to the extreme. I know this might sound harsh, like, hasn’t he been through enough? I get that, but… I’ve said it before and I say it again: Izuku is stubborn as hell.

I wish I had a resounding final note to end this on, but I kinda don’t. I’m not sure what’s best. Now we just have to wait and see what Horikoshi has in mind.

[sandplague]

pathologic 3 save & sound 2024 presentation

this is a quick attempt at a transcript of the presentation. I think I got most of it but there are some words I was unable to hear, I can't say I have a lot of practice doing this and that's on me so if any of you guys can help me I'll edit it asap

Ressa Schwarzwald: I'm Ressa from Gameowdio. Our team has been working on Pathologic 3 with Vasily Kashnikov and his apprentice Nikolai. This video will feature some of the audio stuff we've made together.

Our goal regarding audio direction was to give the real experience of being in the epicenter of an epidemic. Fully realistic, no bullshit. So we are obviously shooting this video in The Town. We realized pretty early that the game was quite different from the original Pathologic 2 because of the time travel mechanics. So for the prototype we built a time travel machine [the date November 1924 shows on screen], which appeared to be quite useful to record some source sounds, and [date changes to November 3024] make this video in just half a second using existing technology.

Let's start with the music.

Vasily Kashnikov: Hi, I'm Vasily Kashnikov, audio director of Pathologic 3 project. I'll tell you how our music is structured. We were already thinking about how the Bachelor's game would sound when we were working on Patholgic 2 and writing music for Haruspex. In Pathologic 2, the music had more ethnic and real motives (motifs?) and instruments. Since the city and its customs are familiar with Haruspex since he was a child, he is involved in the traditional way of life. In the case of Pathologic 3, this is the view of an outsider who evaluates everything from the point of view of rationality and science. Therefore, we are trying to make the Pathologic 3 soundtrack colder and more detached from the steppes and ethnicity in character. There is more synthesis, guitars at the same time, the Bachelor communicates with those in power so the soundtrack contains a large share of minimalist so-called furniture music that could sound in the beginning of the last century. Piano etudes and references to composers of that time: Satie, Debussy, etc. The soundtrack is a rather eclectic mix of dreampop, downtempo, and (?) minimalism.

In the city when the Bachelor is alone with himself, we emphasize the cold mind of the rhythm section: less emotional harmony, and sometimes electronic timbres. In the rooms where we need to separate the main character from those he interacts with, we use more expressive harmonies and more classical instruments: piano and guitar passages.

When we designed the interactive music system, we assumed that time is finite, and the music had to change depending on the amount of time the Bachelor had left. However, we later abandoned this system and now the music changes depending on the state of the Bachelor himself, who can fall into apathy or psychosis. To emphasize these states, we apply filters and effects to different layers of our tracks and get a slower, muffled sound in the case of apathy, and wired (?) nervous, glitchy in the case of psychosis. In the infected quarters, there are interactive systems that... [screen begins to distort] oh my god, Nataliya! Please stop this!

Nataliya Radina: Whoops, hehe, sorry. But yeah, basically the other system we created reflects everything you hear in the game. Such as... If we use our gun when dealing with the local thugs, the longer we aim the weapon at the people, the less sounds of the outside world we hear and the louder becomes the heartbeat. To add to the intensity, sharper tone was used along with a high pitch tinnitus sound. If the psychosis level goes to the maximum, it starts to damage Bachelor's health, which is accompanied by flashes on the screen, as well as low heartbeat and short breathing sounds.

Vasily Kashnikov: In the infected and rebel's quarters, there are also interactive systems that change the character of the music by adding or disabling instrument layers depending on the state of the world or the Bachelor's equipment to fight the plague. As a result, we have 12 tracks for each day spent in the city. they can freely switch between each other and several dozen themes for locations and characters, and all the music is subject to change depending on the state of the Bachelor.

Nataliya Radina: Since the game has a weather changing system, we also wanted to reflect that in our audio feedback as well. The game has global wetness parameter that shows how intense the rain is. The more it rains, the more squishy and muddy are the steps of the outside surfaces. Moreover, if you come closer to the window, you can hear the rain pondering on the glass. Even in the middle of the plague, we always have room for cozy moments, right? My favorite part of that system is involving cows. [cow moo]. So, when it's raining, you can actually hear very very soft sound of raindrops dropping on those bovine butts. And I personally think it's beautiful.

Artur Ramanouski: Hi, my name is Artur, and I was also involved in creating some sound assets for the game.

Probably the hardest thing to record were the footsteps. I had everything planned out: bought the equipment, got every type of surface, but...there was one small thing I overlooked: I live in a city with over 12 million people. Noise everywhere. The solution was simple and ingenious: I recorded everything on a Sunday, because in Buenos Ares, Sunday is the one day when no one does anything.

Nataliya Radina: One of the most important places in the game is the cathedral. There we have a system of ladders that control the speed and direction of time. Direction wise, we can have it flow normally, or reversed. [entire presentation is rewound very quickly so it's back to Ressa]

Ressa Schwarzwald: She is super professional.

Nataliya Radina: As for the speed, we can make it stand still, go twice as fast, or half normal speed. We created an audio system that has to (?) understand what is actually happening around (inaudible). When we reverse time, spatial effects are added to the surrounding sounds. Ambience, steps, and the mechanism itself. When time stands still, we increase the low frequencies in the ambience, and all the other sounds are muted to zero. Now lastly, when the time goes twice as fast, or half the original speed, the pitch of the surrounding sound changes accordingly.

The coolest part of this system is that it's been actually implemented into the game engine using only one parameter.

Ressa Schwarzwald: Thank you for watching. See you here, later!

[hadesisqueer]

Redeemed Azula (the vision Aaron Ehasz had of it) had the potential to be the funniest character in the whole franchise lmao.

Imagine her as an old lady in LOK and everyone meeting her. Her scary musical motif plays when people realize who she is and then she's just chilling like 'yeah, it's me. Want some tea?' and ends up chatting with Bolin for a while. She goes with Zuko, Eska, Desna and Tonraq to stop the Red Lotus and the elevator scene between Dad of the Avatar + People who tried to kill the Avatar somehow becomes even more awkward with her in it. They all hear about the death of the Earth Queen and wonder how they got inside Ba Sing Se and the palace so easily and Azula just goes 'I did it when I was 14, it's not hard', and then immediately say 'sorry, not the time'. She hears about what the Red Lotus plans to do —killing Korra in the Avatar State—, and she starts saying that that is bad strategy if you do it upfront and should be more of a quick sneak attack like when she did it because otherwise the Avatar would fight back, and then immediately shuts up when everyone is staring at her and says 'sorry, this is bad.'

Like, potentially the funniest character in the franchise.

[blasphemousclaw]

Speaking of different Hornsent cultures, do you also think Midra is a part of that culture as well? The ghost in his manse dies suggest they're both Hornsent

I do think Midra is meant to be a part of the hornsent culture, yeah! Not only do the manse spirits and the inquisition storyline suggest that he's hornsent, but his manse is FULL of architectural details that you can find across all hornsent settlements!

We have to mention first though that Midra doesn’t have horns (and it doesn’t seem like Nanaya has horns either under her headscarf?), but it does seem that there were hornsent in Belurat who did not have horns... technically, “tower folk” might be a more accurate way of describing them in that regard, though the game seems to refer to the culture and those who lived in the Lands of the Tower collectively as both “hornsent” and “tower folk”: “Long ago, Queen Marika commanded Sir Messmer to purge the tower folk” (Leda). “Scorpion simmered in a black soup. Traditional meal of the hornsent” (Scorpion Stew). I'd guess that it was just less common, and not as well regarded, to be hornless, so the culture is still pretty defined by having horns even if it's not a universal trait (again, the hornsent aren't a species, they're just people who are very strongly affected by the Crucible's influence, just like how the animals of the Shadow Lands can often be found with horns too).

Anyway back to Midra – because he doesn't have horns, it is possible that he wasn't born hornsent and simply adopted the culture. Nanaya though has an extra cultural detail that makes me feel like she might have been born into hornsent culture... “Nanaya” was the name of an ancient Mesopotamian goddess of love! The hornsent civilization is extremely heavily inspired by ancient Mesopotamia, especially Babylon: the name Enir-Ilim comes from the Akkadian name for Babylon, Bāb-ilim — “the gate of the gods,” and the Tower with its Divine Gate is pretty obviously a reference to the Tower of Babel… so the fact that Nanaya has a Mesopotamian name, when we know the game used other words from ancient Mesopotamia for the hornsent, makes it VERY likely to me that she is a native of the tower lands! But even if Midra and/or Nanaya aren’t tower folk and originally came from a different culture (some have theorized that they’re numen), it’s pretty clear to me that they’ve at least adopted the tower culture due to all the visual and story details associated with them and their manse.

Architecturally, the Manse very obviously uses a lot of the same stylistic details as structures in Belurat and other hornsent settlements. The front door to the Manse has the same metal relief design as the doors in Belurat:

(Midra’s Manse front door; Belurat front door)

the Manse is also decorated with the same spiraled columns that are a staple in all hornsent settlements, as well as the same spiral tree motif that can be found on walls and stone tablets in Belurat: 

(Midra's Manse library)

(Midra's boss room; Manse front room)

(Theatre of the Divine Beast, Belurat)

(Small Private Altar, Belurat)

Midra's robes are pretty nondescript, but Nanaya's outfit absolutely screams hornsent; there are so many details in her outfit evoking the hornsent culture. The decorative trim on her robes have a spiral design, which is a motif found in a lot of hornsent art and architecture:

(Enir-Ilim)

and the twisted fabric framing Nanaya’s face reminds me of the twisted drapes found in the Theatre of the Divine Beast and Enir-Ilim:

(Theatre of the Divine Beast, Belurat)

(Enir-Ilim)

Midra and Nanaya had a lot of hornsent followers who lived in their manse who you can still find as spirits and shades. The dialogue and item descriptions related to Midra and his followers make it very clear that when the inquisition stepped in, the violence they were committing was against their own people:

"I beg you stop. Haven't I taken enough? Are we not brethren, common in our line? And yet, you offer only cruelty... I ask; what crime did great Midra commit?" (Manse spirit NPC)

"A glove stitched together from the flayed skin of the victims of a butcherous bloodbath. [...] Forged of an unyielding, black impulse toward revenge fostered in those who were hunted down as heretics by their own brethren, these are the weapons of the utterly downtrodden." (Madding Hand)

and yes, I think Midra and Nanaya are included in this! There’s kind of a pattern in the hornsent civilization of the elites (represented by the inquisition) suppressing different subgroups within their own culture for not adhering to the status-quo: this includes the Curseblades, the Lamenter, and Midra and his followers. I wonder if Midra held some independent beliefs that had nothing to do with the frenzied flame that made him suspicious in the eyes of the inquisition? He was known as "Sage Midra," and had a great library in his manse... it makes me think that he was some revolutionary scholar and thinker who inspired a lot of hornsent to follow him at his manse. I wonder if him not having horns and still having so much influence over other hornsent could have been seen as a threat to the inquisition’s image of (horned) supremacy??