#best routes

[ratgingi]

finally fulfilled my destiny (redrew this sprite) 💪💪

[critterbitter]

Tis the season on Twist Mountain! Elesa, from Sinnoh, happily tromps around in the cold. Emmet remains undefeated champion of snowball fights. Ingo shivers his way across the clearing.

Look at em go!

Masterpost for more pokemon!

[blacktabbygames]

We're thrilled to announce that we've wrapped principal development work on Slay the Princess — The Pristine Cut. We'll be releasing it this Fall (date TBD) so we can simultaneous ship the update with both the game's console release (surprise!) as well as official subtitling support for 11 new languages, all with the help of our wonderful new partners at Serenity Forge (who you might know from their publishing work on Doki Doki Literature Club Plus!)

There's a lot for us to share about The Pristine Cut, but before we get into the details, please check out our new trailer!

Here's what we've got coming for you: Content

For those of you who are just now hearing about The Pristine Cut, it's an entirely free director's cut of the game that adds about 35% more content on top of the initial release.

This includes massive expansions to The Den, The Apotheosis, and The Fury routes, each of which is over three times bigger than their release versions, with tons of variations to discover across multiple playthroughs.

On top of this, we're adding three brand new chapter three routes that will add even more depth to your stories with The Damsel, The Prisoner, and The Spectre.

And we're adding a new ending.

All in all, these additions come to over 2,500 new voice lines, over 1,200 new hand-drawn illustrations, and over 15 new tracks of music.

We're also adding an extensive CG gallery with over 400 unlocks to help all you completionists track your progress, complete with cryptic hints to help you discover some of the game's more obscure and buried interactions.

Languages

And all of this is coming with a giant wave of localization support, covering the following languages: Simplified and Traditional Chinese, Korean, Japanese, French, German, Russian, Spanish (Latin American), Brazilian Portuguese, Italian, and Polish. These localizations are just going to cover subtitles, so we can be as thorough as possible about maintaining the quality of Jonny and Nichole's performances.

Consoles, Physical Release and New Merch

With the help of Serenity Forge, we’re bringing Slay the Princess — The Pristine Cut to every major current console — Nintendo Switch, PS4 + 5, and Xbox.

And these won’t just be available as digital downloads. You’ll also be able to pick up a physical edition for the Switch and PS5, with an exclusive sticker sheet and a download code for the game’s soundtrack.

And if that’s not enough we’re also doing a Collector’s Edition, complete with a 7 inch statue of the Princess, a mirror with a lenticular lens, an acrylic standee, and more.

And finally (for now), we’re launching the first wave of new line of sticker sheets, featuring chibi art of the Princesses as seen in The Pristine Cut’s new gallery. Pre-order them now at Topatoco!

Alongside these developments, we've also launched a new website for the game: check out slaytheprincess.com where you can order the physical editions, check out merch, and more!

Thank you so much for your patience while we've worked to make The Pristine Cut the definitive version of Slay the Princess. We can't wait to share all of the game's new stories with you this Fall.

Until then, we're back to working full-time on the next Episode of Scarlet Hollow (and have been for about a few weeks now!)

Best, Abby and Tony

[sharoo]

Self-knowledge as a theme in STP messes me up so bad, bros.

This all starts with how little the Princess can tell you if you ask her about herself. How little you can say about yourself, more often than not. Most of the time Quiet doesn't even know what they look like!

The Narrator makes it a point to make the Princess' cluelessness, her lack of self-knowledge, into deception, but really, both the protagonists don't know themselves. How could they?

The concepts of bounds, of something that isn't you, the distinction of "self" and "other", "you" and "I", the concept of something being not like yourself... this is the first time this deity which is now two has ever experienced it.

The Shifting Mound and the Long Quiet did not exist until the Narrator tore a whole into parts.

Now, this deity in twain has to reorient. It has only begun existing, it's not yet known itself. A toddler has to develop a self-concept, and the concepts of others.

Now imagine, for the first time in your solitary existence, that there is something that you are not. Unknowable, foreign.

What are they like, you think? Are they a friend? Should I get to know them? Are they a foe? I do not know them, I cannot trust them... Or can I?

This brings to mind, of all things, Contrapoints' video on Twilight, where she speaks about the concepts of Union and Division in relation to love. And while she speaks of it in terms of eros, it can apply here just as easily, romantically and platonically.

Love is the union of two beings. We love because something outside of us allows us to be more than ourself. In others, many seek that which they lack. We seek out people so that we may develop through our similarities and contrasts with them, to change an be changed.

We seek out people because there can be no I without a You. To exist in a void is not a fulfilling experience.

We cannot discover ourself if he have nothing that allows us to compare ourself. The mirrors elude us throughout the game, always leading to the princess - she is the only way we may know ourselves, the mirrors tease as they disappear. And at the end of the route, only then, can you see yourself, now that you have a complete knowledge of yourself in a given scenario, with a given persona.

Was the princess someone you decided to trust? Or to betray? Was she a foe? A friend? A nightmare? A victim?

You both try to find out who you are through your relationship.

The princess assumes many faces and attitudes in response to you, you assume voices and attitudes in response to her. You're two batches of clay shaping each other at the same time. It's almost like knowing someone your entire life, seeing them go through different phases as they try to find out their identity in the world, their place. The 5 routes, whatever they be, are your "adolescence".

And growing means you will hurt each other, intentionally or not. There will be fights, disagreements, there will be heartache, and comfort and love.

And everything will pass.

Shifty, before she's complete, before she discovers her godhood, makes this point so clear.

How could she not be kind to you? You are the only thing in this place that is not her. What reason could she have to hate you? To make the only friend she could have into an enemy?

That's why, at the end of every route, all hurts are forgiven. All the heartache is acknowledged, understood, and then she moves on. So that you may continue being together, so that she may see what else you do.

Even godhood can become a phase. The Shifting Mound recognises what you both were, but it need not be you unless you accept it. Because self-knowledge is unending. You are always changing, and you can always change.

You can accept being a god, and that becomes you.

You can reject being a god, and that becomes you.

You are by that point an "adult". The figure trying to dictate who both of you are is gone, and you can decide for yourself.

I think this is partially why I love the Leave with Stranger ending the best of all the endings. You begin it by avoiding knowledge of yourself and of another. The self can only exist as far as it is not like the others.

And you meet the Stranger, this being who knows so little about herself, because she too has been deprived of another. The route is quick. It really cannot amount to much, because if you don't know yourself, it's so hard to build a relationship.

But at the end, they've matured. You gave each other time to become fuller beings. You met this person again and they seem so much happier with themself than they were in youth.

I love how they say "We're just a stranger.", and the voices point out how it needn't be sad that you don't know her, unless you make it out to be. You can get to know them, the real them, and they can do that with you.

The way the Stranger speaks if the position of a God only underlines how much the heart of the Shifting Mound can understand self-knowledge.

They speak of how they feel themself be pulled towards taking the position of godhood, of being everything, yet find it confining. Restricting.

"We want more. We want whatever might be on the other side of this door. Something new, that we'll experience together. With someone who exists outside of us. Someone who can see us in a way we can never see ourself."

Self-knowledge through relationships and reflection on how you impact other people.

[cosmos-dot-semicolon]

I'm sure this has been said before but the visual storytelling in Happily Ever After is fantastic. The whole frame being shifted to the left (i.e. not right), the distance put between you and the Princess as all you engage in meaningless timefilling. Who she actually is comes secondary to you spending time with her.

The room being mostly white so the drawing looks more unfinished than usual. The tapestries of your apparent love that you can barely see against the light. It might be accidental but the shine on her eyes and the mascara on a small scale almost look like tears.

[khaopybara]

❝The battle has only just begun.❞

KATO SHIHO as AYAKA and MORI KANNA as HIROKO episode 7 of AYAKA IS IN LOVE WITH HIROKO

[wispurring-moss]

so i finally realized what Husk's little smirk here kept reminding me of............. 😂

[borgialucrezia]

"You've got the polar opposites of historical views of Lucrezia as the adulterous, incestuous villainess, the Machiavellian manipulator, and then there's [the view that she's a] very passive victim who was just a pawn in her family's game. They're completely contrasting views and I think Neil's similar to me in wanting the middle ground. Yes, Lucrezia does have a strong moral grounding and she was quite religious, but she's also a Borgia! So she's got to go out and do the best for her family, and for herself as well, and make decisions that maybe aren't completely based on Christian morals!" — HOLLIDAY GRAINGER

[myrkulitescourge]

i'm surprised i haven't seen any text posts yet about the Unsubtle Differences between astarion’s tiefling party/high approval forest scene and the one you get after the goblin party.

there’s something so terribly interesting about how the conversation afterward plays out depending on which variation you pursue.

like, most people have seen the tiefling party version by now. astarion basking in the sunlight the morning after, playing off most of what tav says with relative ease, even when they ask about his scars and he tells them about cazador. his cadence is smooth and composed, his smile almost friendly, even though you know, as the viewer, he’s playing a game of manipulation at this point. the only real crack in his demeanor is if tav notices that cazador’s “poem” was written in infernal, which, understandably, startles him.

but recently i watched the goblin party version of this same scene, and everything reads so differently. unlike at the tiefling party, it’s still the middle of the night when astarion tries to leave, thinking tav is asleep—almost immediately after the act, in fact. when tav does speak to him, he’s visibly nervous, halting and stammering in the middle of lines delivered unflinchingly in the other version of the scene. he gestures broadly and fidgets more while talking, his smile comes and goes. there’s even some of his distinctive high pitched, fake laughter sprinkled throughout the exchange, almost identical to later scenes where he's very, very obviously uncomfortable (like if raphael mocks him and magics off astarion's shirt to show the party his scars in act 2, or when confronting the gur children in their cell in act 3, etc etc).

siding with the goblins represents something deeply familiar to astarion, a level of cruelty he's more than familiar with and embraces likely because cruelty and duplicity, to him, go hand-in-hand with the power and freedom he craves so badly—but he won't stay the night with this tav, even if he approves of their actions. no, in this case, he'll keep to what's familiar and attempt to leave them in the forest under the cover of the very same darkness he resents having been cast into by cazador. when he gets caught, it sets him on edge, and everything he says becomes such a blatant lie to save face that tav would have to be completely oblivious not to see through him, or maybe just not care enough to.

but if tav saves the refugees? challenges his worldview and comes out victorious? oh, he'll complain of the poor rewards for his trouble at the party and whine about it being boring, but he decides to stay with tav through the night while they're asleep and on past dawn. he takes a moment to enjoy the morning sunlight, returned to his life after two centuries without. the same is true if you have high enough approval that he asks before the party, in which case, you've almost certainly hit his biggest approval gains: trusting him and supporting his safety. maybe he doesn't trip over his words when he speaks because, well, maybe this is someone he doesn't have to worry about. someone who's already more than proven themselves a foolish, heroic sort with a bleeding heart or otherwise demonstrated that they're already in his corner. in other words, not a threat—at least not to him.

does any of this make sense. i wanna study this guy under a microscope.

[nukbody]

@dead-finch-420 threatened me only 40% so i better take my chances, but being completely honest having look at those old sketches made me just wanna redraw them all so here we are

[mblue-art]

🧍...

<< 🎯 <3

[ratgingi]

RAUUUUGUUHHHH NORM PLUSH NORM PLUSH NORM PLUSH

[poyameows]

I want to play different routes on Disco Elysium but the idea of purposely being mean to characters and not trying to help everyone in the game makes me want to cry.

[zaunbinary]

“silco knowing felicia explains why he took powder in so quickly and never would’ve given jinx up!” so close actually not close at all! silco took jinx in because her jumping into his arms and saying “she is not my sister” was a violent reminder of when he was betrayed and abandoned by someone he considered a brother! her dead mother did not cross his mind at that moment i promise you. oh and as for the whole never turning her in thing he’d never do that because he knows what it’s like to be betrayed and would never pass that feeling down to jinx willingly. here let me put this on a billboard for you.

hope this helps!

[killjoy-prince]

Spaceship thoughts

[indigos-observatory]

Clara and her dad and her dad's weird boyfriend

based off of @fennelwasp's Changeling playthrough!!! in which this was a really fun bit, Artemy got blackmailed into being her dad