#but give them segments!!! develop the characters!!!!!

[samijey]

The OC - NXT 11/06/2024

[tapwater118]

Has anyone ever heard of “Battle for Dream Island” (1990) before? Really obscure NES game, doesn’t even have a Wikipedia page (or hell, even a mention in one).

From what little I can find about it on the internet, Battle for Dream Island was an NES game released on January 1st, 1990, apparently made entirely by a pair of independent American developers. Never made all that many sales, but eventually it garnered a rather niche following on an obscure gaming forum, though it had long since dissipated. Unfortunately, seemingly nothing from the forum threads was archived, so all I have to go on are a few vague threads titles from a navigation page.

I, rather cliched like, bought this BfDI cartridge from a sleazy old guy at a flea market (along with Puzznic and Wario’s Woods for a bargain deal). I dumped the ROM and booted it up on an emulator to take some screencaps.

Upon pressing start, you are prompted to “Choose Contestant,” and have a choice between any of 20 playable characters (who are all everyday objects, for some reason). Each contestant has their own stats, and while you can feel the difference while playing, the overall impact of character choice is pretty negligible. (Also some of these guys don’t even have arms?? Weird design choice but okay.)

Two screencaps of the character select screen. I went with Pin for my first playthrough cause idk she seemed kinda cute. I’m almost sure the stats are “Strength,” “Speed,” “Jump,” and “Skill.”

(Continued under cut)

While touting itself as a game show, BfDI is essentially a glorified minigame collection. The gameplay loop is as follows: You and the 19 other contestants play a minigame (referred to as “challenges”) to earn points based on how well you do (though I’m fairly certain the computer contestants just get a random amount of points for each challenge). Most of the challenges are various platforming segments, though some others fall more into puzzle game territory.

Two of the challenges. The green “Win Tokens” can be collected for bonus points. LEFT: A horizontal platformer level. The grey wall in the middle of the screencap moves up and down. RIGHT: A challenge about climbing ladders while avoiding “acid spitballs.” The game pauses to scroll vertically a la Super Mario Bros. 2.

After each challenge, this speaker thing shows up (pretty sure he’s supposed to be like a game show host?) and tallies up everyone’s score. The contestant with the least score gets “eliminated” and removed from the game.

The results screen. Leafy did rather poor on the last challenge, so she’s out of the game.

The game continues like this until you lose (have the least amount of points) and get booted to the game over screen, or until you are the last one left, in which case you win Dream Island! (Though of course in reality you just get booted back to the title screen. No Dream Island for you.)

The victory screen, with the gates to Dream Island in sight. Feels more like the gates to hell given how Pin’s staring at me.

It’s a fairly easy game for NES standards (I won on my first try). Took me about 80 minutes on my first playthrough, though subsequent ones could take less than an hour as I knew what I was doing. The brevity and the fact it saves your high score gives BfDI a nice sense of replayability (though this is probably best done sporadically, as the challenges tend to get a bit samey after a couple of back-to-back playthroughs).

So yeah, just wanted to share this in case anybody else has heard of it. I’ll probably rip the sprites and upload them sometime later cause it doesn’t look like anybody’s done that yet.

[felassan]

Notes on and quotes from today’s new DA:TV coverage content from Game Informer, the video “The Making of Dragon Age: The Veilguard | Cover Story Feature”. The rest of this post is under a cut due to DA:TV spoilers.

First I'll note that the Game Informer video contains spoilers for DA:TV, so bear that in mind before deciding to watch it or read further in this post.

There were no new images, screenshots or videos from the game in the Game Informer video. There was however a series of music pieces playing in the background of the devs talking throughout. I didn't recognize these music pieces (lmk if you did tho pls hh!), so I'm wondering if the music in this video was all-new DA music from DA:TV!! 👁️

Next I will say that there was not much in the way of new information in the video. The devs were chatting about topics, info segments and talking points that have been featured in previous articles & previous coverage on the game. however, the devs seemed really happy and excited, and proud of what they've made, excited to share about it, and that was rly nice to see. :)

For the rest of this post, it is not a 'cliff notes on everything said in the video'-type post. It's just a series of notes on and quotes from the video that particularly stood out to me and that I particularly liked. ^^

"You start DA:TV having chased Solas to Minrathous. You're there to stop his ritual, there to take him down. You're there to find this character, so you're chasing him, you're trying to stop this ritual that he has already said multiple times that he is going to perform before he performs it, because, if he does, the Veil will get torn down, the Fade and the world of the waking will merge, and demons will pour out, pretty much meaning the end of life as we know it".

John Epler: "Solas always feels that he is a tragic hero, but a hero [of the story] nonetheless. So he is coming into this believing firmly that what you stopped him from doing [Rook stopping the ritual the way they did in the gameplay reveal video] was the right thing, that you've made a mistake, but, because now he's trapped, now he can't reach out and actively affect, he needs to work with you. And that allows us to provide a lot of nuance to the relationship, because Solas sees a lot of himself in you, especially the parts of himself that he maybe doesn't like to face, so there is kinda that interesting push and pull between the two characters, Solas and the main protagonist Rook. And you can define what that relationship means. You can continue to be suspicious and hostile towards him. Or you can start to see him and find that common ground, find that connection between the two of you and really develop a different relationship over thee course of the story." Mark Darrah: "This is a good direction to take the Solas story. It allows us to hopefully give a good conclusion to all of the varied attitudes towards Solas that are gonna be coming into this game. People who love Solas, people who agree with Solas, people who hate Solas, people who want to kick Solas off of a building, I think that we give you the opportunity to bring that to a close, but then tell a greater story about The Veilguard and about the world as a whole."

BioWare wanted to tell a story this time where you literally cannot save the world without these characters

The companions have relationships with each other too. "They have friendships, they have rivalries, and lean into that concept, you're not just pulling together a bunch of people who will do whatever you say, you're assembling a family and that becomes the core of what The Veilguard is all about. It's about taking this group, this found family and saving the world side by side with them."

In the game, things and the storytelling are done towards a goal, towards a storytelling goal, "towards the future" [of the franchise it sounds like], not 'just because' or 'just to do them'

John: "The message of The Veilguard is, you’re not saving the world on your own. You need your companions but you also need these factions, these other groups in the world. You help them, they help you. Now, something we wanted to avoid, because, you know, there's always the trope of, 'oh yeah, I would help you save the world but I need you to go gather 200 wood', it's kind of a silly concept, so what we wanted to build is these factions that do want to help you but have realistic challenges, problems in front of them. So narratively, you help them with their problems, they will help you with yours when the time comes, but beyond that each faction has a follower, as well as an ancillary character we’re calling 'agents', who exist as these, face of the faction. We’re not gonna get too deep into those right now, but we didn’t wanna just say, 'here's the Wardens, go deal with the Wardens', we wanted to have characters within that faction who are sympathetic, who you can see and who become the face of that faction, so even if there's moments where the faction as a whole may be on the outs with you, these characters are still with you, they’ve still got your back. It’s a core with what we’ve done with the storytelling in this game. We wanted to make sure all the content you did felt relevant. Everything you do has a purpose and has a tie back into the critical path. Sometimes it's more explicit than others, but there is always a sense that you are moving towards the goal of stopping the elven gods, stopping the end of the world, and it's not just [like how some of the side content in DA:I was]. Helping these people, helping these groups, so that they can help you when the time comes."

In the story and tone of this game, it has the highest of highest and the lowest of lows. At the lowest of lows, "it gets gritty, it gets painful, it gets dark", but there are also nice positive moments in the game and a colorful, optimistic throughline. Corinne: "This identity is something special for the franchise now and for the franchise going forward"

"the depths of Arlathan Forest"

"In the case of Arlathan, what does it look like when you go to the place where the elves had their ancient empire that was run on and fuelled by magic? What does the aftermath of that look like, especially when the gods are out in the world and raw magic is seeping back out from the Fade."

DA has always been a series where in the world, the truth has multiple perspectives

We will journey out from the Lighthouse into the area of the Fade known as the Crossroads, "which is full of mysteries, exploration, branching paths". We will take eluvians to the far corners of northern Thedas

Some of the environments are more mission-focused, "with narrative beat after narrative beat"

"We know what's gonna happen, we know when it's gonna happen, but of course it's influenced by all the decisions you've made as the player along the way"

There are also more non-linear, more open areas in which we will be able to open up new sections of the map, find new pathways, "really leaning into solving mysteries and finding ancient treasures and some of our apex battles, there are some truly terrifying enemies that you're going to encounter when you're left to your own means to kind've explore these larger areas".

"Tevinter has always been a land where mages rule, they are in charge, they make the rules and run the show. So what does that look like? And, as we've gone through DA:O, DAII and DA:I, magic has become more and more present, and part of that is because Solas has been slowly preparing this ritual for longer than anyone in the DA universe is really aware of, but also just, going into these spaces where magic is, by definition, and by the lore, much much more present. It's been fun"

For the first time in DA BW are able to let the visuals speak for themselves (as in, the technology has caught up and they aren’t just saying 'trust us, this [magic thing] is really cool')

They took great care with how they introduce each companion and major story character

Corinne is really proud of what BW have built with the CC. "It is a game where everyone belongs"

A new to DA feature in CC: full body customization with pretty robust diversity. Body shape, body size, body proportions

They invested huge effort into their strand hair technology. There are numerous hairstyles in the game, they know how much the fans care about hair and Corinne is one of these people. They know that the range of hairstyles matters too and that it is not just about quantity. "Making sure we have diverse representation for all types of players."

They took a step back and asked, how are we going to incorporate things like your background in a meaningful way?

They call difficulty levels "playstyles". This is integrated into the CC process. You can select a number of preset experiences that your character will adopt and step into the game with, but you can also customize that playstyle e.g., if you're bad at parrying, you can ease this up

Some of the locations that we will visit are "bustling cityscapes." "We're gonna go right into the heart of the Tevinter empire. We're also going to a city in Antiva called Treviso"

Corinne Busche: "[those places] have a dense populace and we knew we needed to have the tools to support a wide range of NPCs. You will not find NPCs that look alike in this game. Each one is crafted using the same tools that we're giving to our players, with the exception of some of our custom-sculpted characters like the companions. So when you go up to that market vendor in Minrathous, you can make that character. When you see the guards patrolling the street, you can make that character too. You can therefore be inspired by the population around you and go and create that in CC."

The Lighthouse as we know is our HQ and base of operations. Each of the companions has their own sanctuary, their own room within it. These spaces become a reflection of who they are. The more time we spend with them as the game develops, as we work through their arc, their room and their personality will evolve and flourish and become more complete as they trust us and we understand them better

Corinne: "There are moments in the game where two of our companions fell in love with each other and I had to make some pretty challenging choices as it related to the quest we were on, and it broke my heart, it absolutely did"

The game tries to give the player as much agency as it can, and then reflect it back on us. Choice and consequence can be hard to show, but this is a game about agency and about giving us options

We can upgrade gear and enchant gear, this extends to the companions too

The 3 specs for each of the 3 classes are highly distinct

Every attack, every swing of a sword, when you connect you feel it, these have weight

Companion abilities can be queued up one after the other

The devs are really proud of this game and excited about it. Everything that's in the game is in there because someone cares about it. The game really reflects the dev team and it's coming together well, they are really excited for us to get our hands on it soon

[source]

[raven-at-the-writing-desk]

Which dorm arc do you think was the best written? I liked the ignihyde arc the most if I have to be honest

This might be unfair to the other books (since most of them have fewer parts/less time for their stories + book 7 isn't even complete yet for me to judge), but I think the writing in book 6 is the strongest (as in, "most interesting" and "most narratively sound") so far. What gives book 6 a massive leg up over other books is that the conflicts addressed in book 6 were foreshadowed WAY in advance through other content like voice lines, vignettes (I believe Ortho's Precision Gear), and events (like Wish Upon a Star). It was sooo satisfying to see all of the payoff (and Idia breaking down)!!

I don't think the other books are bad by any means except for book 2, sorry not sorry Leona, I just feel that 6 had a lot of space to touch on more characters and their development than only the Ignihyde boys; I loved catching up with characters we've already met and seeing how they've grown or changed, even in little ways. Additionally, I personally prefer stories with "high stakes" and family-oriented drama involved in them, so they biases me quite a bit toward book 6. The high stakes and family drama angle is also true of book 7, but again, it's not out in its entirety yet so I'm going to reserve my judgment until it has.

Something that's unique to book 7 (and that I wish previous books did, even if it elongates them significantly) is actually deepening our understanding of every character within the dorm. I would have been so bored if book 7 focused solely on Malleus. I loved getting to learn more about what makes Lilia tick, and seeing how Sebek and Silver develop from their experiences. I feel like I didn't get a significant enough of a look into many of the other boys during the main story campaign... Instead, we're often told about things that happened without truly witnessing it for ourselves. I know, I know, that's the whole point of a visual novel--expecting a lot of reading. I still would have preferred like... more flashbacks and scenes demonstrating what we're being told rather than the dialogue doing it for us. Show me how Riddle's relationship with Chenya and Trey has changed since their childhood! Show me young Jack being inspired by Leona's play and wanting to be in the same team as him! Etc., etc., etc. I could always look to vignettes and event stories for more lore on each character, but those are always portrayed as "AUs", whereas the main story is what is 'canon" so it's sort of sad to see that we never get to look any closer at most of the supporting cast upon that bigger stage.

It’s exciting that we now get to see more of the boys since we’re now dream hopping for book 7; I’m just going to hold my judgment for now since I found the pacing uneven and a little quick for what we’ve seen of Pomefiore so far, especially when compared to the longer Lilia dream segment. Again, I find book 6 stronger in this regard but that could be because its scale is slightly smaller and it has fewer characters to juggle. I guess we’ll have to wait and see how book 7 wraps up—maybe it’ll completely win me over!

[cairavende]

My wonderful girlfriend got me Gideon the Ninth for Christmas and I realized why should I just give Worm recaps? Let's read some Locked Tomb! (We'll see how this format works, maybe I'll adjust it. Specifically might break stuff down into smaller segments instead of full acts, but I didn't think of doing this until after I had read all of act 1.)

Gideon the Ninth Act 1 (chapter 1 through 8) thoughts:

This book is so gay oh my god

Like, it's gay in ways I can't even explain. I love it.

Harrow beats the shit out of Gideon in chapter 2 and I don't know if I've ever seen someone get beat up in a more gay way.

"Oh Griddle! But I don't even remember about you most of the time." ROLL A FUCKING DECEPTION CHECK HARROW! You are saying this standing in the middle of the field you spent all night burying bones in just to foil her escape in the most dramatic way. You can't stop remembering her.

Gideon is the most herbo of herbos. I fucking love her. I love reading her PoV. She just knows punch and stab with sword and if those don't work than she'll just do them harder.

Also Gideon is SO fucking gay. Dear god. Dulcinea faints and Gideon turns off all though. HELP PRETTY GIRL. Nothing else.

Ok I could just make this whole thing "EVERYTHING IS GAY" but there is technically more than that.

I love how weird everything is and how little explanation is given. I don't want pages of exposition, I want to learn the world as it comes at me! This is perfect.

And just the very nature of things that seem weird not being given more than a passing thought in the book is information. Something may seem wild to the reader but it's so normalized to the characters that they wouldn't even think about the idea of it being different.

Lack of explanation also helps really show how much of a meathead Gideon is. Do the readers get to learn details about this thing? Only if it is a weapon, has tits, or Gideon is forced to listen while Harrow explains it. Otherwise no, why the fuck would Gideon spend her precious few brain cells on thinking?

And even if Gideon is forced to listen as Harrow explains it, the readers might not learn much cause Gideon might stop listening. I love her.

Aiglamene is wonderful. Crux is fine but I like her more.

Poor Gideon just wants a big sword that she can swing hard. It's not like she can't use a rapier. But why when she can go big sword?

SO MUCH CATHOLICISM

As someone who once was Catholic and then realized I was actually not a straight man, but instead a lesbian, I am in deep.

And the fucking slang used! Or whatever would be the right term. The shit they say! I love it. Just the weird sci-fi far future space necromancer universe and then suddenly "Are you asking me to . . . throw her a bone?", "Gideon had always known that this would be how she went: gangbanged to death by skeletons.", "Don’t hypothetically shove stuff up my butt again, it never does any good.", "Lo! A destructed ass.", "Well we were developing common sense, she studied the blade.", "Double Bones with Doctor Skelebone."

House of the First appears to be Earth. I kinda assume the House of the Ninth is Pluto, even though things obviously aren't in order given that the Seventh and Sixth are closer to the sun. Of course, I'm kinda expecting this to not technically be this solar system at all.

Undying Emperor, King of Resurrection, I Have Ten-Thousand Titles, Boss First, etc etc hasn't been on "Earth" in over nine thousand years. I wanna know MORE.

And the fucking Ninth House has their own prayer! Everyone else has one that the Ninth didn't know and then the Ninth had one that no one else knows! GIMME MORE!!!!

Also again, so many Catholicism metaphors or comparisons or whatever!

I could go on forever but gonna end this one with OH MY GOD SHE FOUND SUNGLASSES I LOVE HER. Fucking "I came prepared, my sweet." and "But then you couldn't have admired . . . these!" as she whips on the sunglasses. God. I nearly died.

[gleamingtempest]

Xander Matthews - [DRDT] Character Analysis #01

Welcome

Hello. : ) This is a part in a series of analysis' by me where I will be individually outlining the negative experience, core belief & stated belief for every main character in the Danganronpa: Despair Time cast. Danganronpa: Despair Time is not a complete text yet so these analysis' will not be exclusively based on text from the project. All segments of these posts which cover parts of a character's story which has not yet covered in the text. Speculation will always be marked by the indicator [X] when it occurs. The purpose of this series is ultimately to provide my own individual thoughts, feelings & speculation on each character with actual text as my basis for building those actual thoughts, feelings & speculation. I hope you are all able to find it useful. Please be well - and enjoy. 🙇🏻‍♀️

*Note: This post was written at the time of 4/25/2024. At this time, the latest DRDT episode release was Chapter 2 - Episode 11. Every post in this series will be redone after the full release of the series.

Negative Experience

Xander Matthews

-> Negative Experience: The most prominent traumatic events or event experienced by the character in their past, which primarily informs their core belief & stated belief in the main story.

Negative Experience Xander Matthews was a person born to a financially struggling nuclear family in the US with an indeterminant amount of siblings. He moved to the UK before he was 18 to study abroad and stayed long enough to pick up an accent. During this time he cared deeply about his grades & school was his most prominent priority. While abroad his family became extensively ill as a result of their local drinking water and, with no other choice but to drink it, died intensely graphic deaths as a result of their illness during the summer heat where they suffered for a long time. Xander was the only survivor of his immediate family. This incident was somehow the result of Duke Spurling.

Core Belief

Xander Matthews

-> Core Belief: The Core Belief is the unconscious belief held by the character which informs their external & internal beliefs about themselves & the world, or, their "stated belief."

Core Belief

As a result of his negative experience, Xander developed an aversion to conformity, rigidity & organized or systemic discrimination, especially at the hands of institutions and corrupt individuals. [X] This implies that Xander's implicit belief about the world, prior to the incident, was one which prioritized authority figures & approval subconsciously. Xander shifted towards the belief that in order to avoid failure (to protect those he loves) he needs to compete against (the corporations, institutions, etc.) which hurt him & "win", or achieve victory against them. "I need to defeat the enemy in order to have worth. Failure is not an option." In this way, most of Xander's actions are motivated by shame, and especially the guilt which he feels over his inability to save his family & more specifically, his own survival where they could not.

Stated Belief

Xander Matthews

-> Stated Belief: The external & internal ideology or belief which the character actively & consciously applies.

Stated Belief

A prominent part of Xander's characterization is the prioritization of determination & a refusal to falter or hesitate when reaching for a goal. "If it's there, reach out and take it, before the world can take it away from you." Based on his core belief, which predicates his value on his ability to succeed, Xander outwardly performs a loud, boisterous persona who refuses to give into the weight of a world which wants to stifle human spirit, creativity & determination. [X] This explains Xander's proclivity towards performative masculinity, in spite of his emphasis on morality & "goodness" - he is, at heart, a performer who seeks to be seen a certain way, more than he is a reformer seeking to bring "goodness" to the world. [X] His activism is an extension of this performance rather than the root of it.

Design

Xander Matthews

-> Design Philosophy: In order to analyze the designs of the Danganronpa: Despair Time cast I would like to establish my method for identifying significant elements of their design to outline & analyze. -> The order I will look at the designs through will be: [Color] -> [Clothing] -> [Story]. Color will usually consist of discussing three prime colors used for the design however their will be outliers to this rule. Story will often be speculative, since we're early in the text.

Color

The most prominent colors in Xander's design are Yellow, Orange and Red. Red is the main color while Yellow & Orange are the support colors. Red is used to reflect his base human determination while the fluctuation between yellow and gray are used to reflect when Xander is able to and is not able to view himself as human enough to be worthy of action; alternatively, his "energy" or "belief" levels. Gray is often used as a dehumanizing color which "lacks humanity" while yellow is humanity and warmth itself. The warm hearth and interior of a human being & their ability to express kindness and love.

A failure on his part to act with love is ultimately his downfall & his inability to act with love for himself is the downfall of others. Clothing

Xander dresses in a disordered school uniform in order to emphasize his aversion to authority & institutions as he is now, or, a direction opposition to his "enemy" which he must "defeat." His singular eye is used as a symbol to reflect his single sightedness, or inability to see past his own goals so that he can consider a different perspective & approach to living, especially one which is less destructive to his own being & self. Since Xander's internal battle emphasizes shame so much, an open & loud design is a contrast which also highlights his focus on performance & performative activism. His right eye being hidden by his hair brings the design back towards his internal shame, since the design builds outwards from the eyepatch & since the eyes are often portrayed as "the windows to the soul." Story

Xander's right eye, or his missing eye is the most prominent element of his design, as well as the one which holds the most story relevance. The only thing which the text directly states about the eye are what it looks like, and that Xander does not remember how he received it, but that it must have been very soon before the KG began. [X] The eye could have been used as a hiding place for the note which Xander received telling him the kill Teruko Tawaki, which is why it has been emphasized so much in the text so far.

Final Speculation

Xander Matthews

-> Survivors Guilt

Xander is the first victim of the Killing Game and the survivor of a tragedy in his own life. He's a red herring which is meant to draw the viewers attention away from Teruko Tawaki & at the same time the most clear piece of evidence we have about who Teruko Tawaki really is comes from Xander himself; both in his thoughts about her and in his actions towards her. From these we can gleam two things: -> Teruko is a perfectly normal & faultless person in this scenario, and -> Teruko needs to die if the Killing Game is going to end. Xander contributed to the Killing Game's orchestration indirectly by providing the unnamed student from the bonus episodes with private documents from or about Hopes Peak.

Xander left himself the note which ordered him to kill Teruko Tawaki, which is why he did it without hesitation & which is why he regretted doing it so much: Xander believes in himself as much as he hates himself. Xander gouged out his own eye with a fork in order to hide the message. The message was from the end of a previous killing game in which Xander and Teruko were the only survivors(?) other than the mastermind. Alternatively, the Killing Game is a clone "time loop" where only the survivors get to keep their current bodies, which is why Xander needed to mutilate himself.

That is all - TY for reading. 🛐 I look forward to Min Jeung next.

[whumpfish]

So, I have been in a very long, very hot shower because I hurt like a bitch, and I think I have narrowed down the basis of my major whump pet peeve, and I'm going to be using my pet fav series Word of Honor to do it.

You cannot survive sustained/chronic/severe pain if you don't develop a relationship with it. The first couple episodes of Word of Honor aren't about Zhou Zishu x Wen Kexing, they're about Zhou Zishu x Zhou Zishu's pain/condition. And that latter relationship continues to evolve and stay at the forefront on a parallel path to the development of the former.

He saddles himself with this thing as penance, because when he makes that decision, he believes that being crippled is "a fate worse than death." And then he goes on living, and discovers that life goes on, so he makes an increasingly-less-guarded peace with it. So when he meets Wen Kexing and Gu Xiang, he's doing his own thing, enjoying the good parts of what remains of his life even though his condition remains at the forefront, and will for the rest of the series. He's integrated it into his life to such an extent that Gu Xiang readily dubs him "Sick Man."*

That's what gets my goat every time: whumpees that aren't allowed to develop a relationship with their pain and are instead thrust into relationships with "caretakers" who don't do much more than provide warm blankets and snuggles and therapy-approved conversation on demand, and be "heartbroken" over how broken and pathetic the whumpee is in their eyes. Because the reality is that the relationship with pain has to be established before any other relationships can go anywhere.

Pain/illness kills relationships. People leave. They just do. It becomes too much of a bother to make changes to their own lives, and they jet.** And it's just you and your pain/condition until you can find the few truly good people who will give you love and reasonable help. You have to develop a relationship with it. It's your new roommate for the rest of your life.

You and your pain are going to be in the wars. You're going to get mad and scream and throw things at it. You're going to resent it for being the only one who's there with you every day. You're going to think about all the shit you can't do anymore, and you'll be frustrated to tears.

But eventually - if you're allowed - you make peace. You stop hating your roommate for holding you back from parties, you just find someone who can drive you home, or stay in with you. You'll find other people who have the same kind of roommate, and then you'll all get along.

And if you are very, very, galactically, fictionally lucky, you find a partner who will help you stand your ground against life and what your roommate pain has made of it. This is what happens in Word of Honor.

Wen Kexing is by no stretch Zhou Zishu's perma-caretaker, or "Caretaker" in the sense that plagues new wave whump. But he cares, and offers what help he can, when he can, without hovering and without kid gloves. He looks for a cure earnestly but without coddling or pitying Zhou Zishu for being a Sick Man. It's a more honest and realistic portrayal of someone ill/disabled and someone not who loves them than I've seen anywhere else.

My relationship with my pain is ongoing and continues to evolve. It takes things from me, but it gives me things, too. My love of whump, the Pain Genre, is one of those things. Whenever my pain spikes like this, my tolerance for fluff in the whump zone plummets, so just know that whenever you get ornery meta from me, my pain and I are sitting around having wine (gingerbeer, can't have wine with the new meds, thanks a lot pain) and bitching.

The reason there's no good chronic pain rep outside of WOH is that characters are not being allowed to develop relationships with their pain, and are only allowed to have relationships with other things and people, and those relationships are inevitably trainwrecks, or insultingly unrealistic and saccharine, because an entire segment of the character's life and personality and identity is being masked or exploited instead of embraced. So let your whumpee have a relationship with their pain/conditions/traumas. Chronic pain/illness havers the world over will thank you.

[caw4brandon]

How to End a Story

Stories are often told through two styles. It's either a recollection of something that has already happened. Or, it's an ongoing event happening to the character's life.

The story can be told through just one main character or multiple characters but like all stories. They have to end. Let's discuss the ending of three shows that I recently watched. (I'll try not to get into the spoilers)

- They're Not just Frogs -

< Amphibia > by Matt Braly; follows three girls; Anne, Sasha and Marcy who stole a mysterious music box that transported them into another world of talking frogs, toads, newts and other horrifying monsters.

Our main character is Anne Boonchuy who found her temporary home with the Plantars; Hop Pop, Sprig and Polly. A small family of frogs who took Anne in and helped her better understand the world. The show is good at using little segments to build the world. Such as a mind manipulation sentient spore, the divisions between the main races and the mystery behind the music box.

Story-wise, the show tried to make the flow of events happen at a nicer pace. Season 1 was used on Anne to better understand the world and how things have changed between her friends. Season 2 used that change to add another twist to their relationship. As the seasons progress, the cast slowly expands.

The show eases in the main trio and their new friends. Some episodes foreshadowed what was coming for the characters, and some felt pointless. With a cast that big, it would slow the story down but surprisingly, it felt okay.

You get to spend some time with them, learn what makes them tick, what changed them and how they felt about the current state of the story. As a person who had some regrets in life, I really liked Sasha Waybright's development. She went from someone who took charge to becoming a character who matured into a better person. Giving her time to improve, showed that she improved but is still a work in progress.

As far as the ending goes, I felt a little bittersweet. I liked that it ended and that the big arc of the main trio is resolved but I would really like to see an expansion for how they deal with all the events they went through as it was rather traumatic. Thankfully, we have fan artists for that!

- Eat This Sucka!!! -

It would be impossible to avoid spoilers when < The Owl House > by Dana Terrace was at its peak. Spoilers were happening left and right!

Context, The Owl House follows the outcast teen; Luz Noceda who was meant to go to a summer camp. On the day she was about to go. Luz got distracted by a thief who went through a mysterious door that led Luz into the Demon Realm.

The series takes on a familiar arc where the outsider; Luz learns the ways of the witches but with her own creativity and innovation. Luz also resides under the care of the Owl Lady; Eda Clawthorne, King and Hooty (The house itself)

As the seasons progress, Luz helps the other witches her age improve and come out of their shells. Importantly, she finds new friends she never had in the human realm.

The Owl House is a show of obviously coded Queer characters and individuals that don't fit with the norm. Dana is a genius that never made a big fuss over the fact that some characters are openly Queer. Although the studio; Disney tried to limit the screentime to avoid public outcry.

The show is my first-ever witness to openly Queer characters being completely normal about it instead of being preachy. Perhaps this has to do with the title; Demon Realm.

"Where the general belief of the overzealous conservatives in a so-called Good and Righteous God thinks that's where Queer people and other abnormal people belong."

The main villain; Belos tries his hardest to "purify" the realm by limiting how witches use magic and violently persecute anyone who opposes these new rules. It's a symbolic view of the Puritan tyrant. That their ways are destined to be divine when it was all a ruse to further their own personal agenda.

The show suffered a mess of developments as Disney has a strong Anti-Queer policy with their shows. But Dana, the sneaky bastard that she is. (he says affectionately) Slipped in undeniable proof that the characters are proudly Queer and the Puritian miserably fails.

The ending was pure cinema! The show uses Luz's perspective to show that kids can have their own complexities and what we may think is good may not be what is right for said person. The show also displays good values of being open to change, that it's never too late to right the wrongs and Weirdos Gotta Stick Together.

- The Freaky Friends -

We finally came to my favourite show of this batch. < Hilda > by Luke Pearson is a fun and adventurous show about a young girl who loves adventures living in a world that is brimming with magic. I would like to talk more about it but I've already covered that in [The Beautiful World of Hilda]

For the sake of this post, I'm only focusing on Season 3. The final season of the series. While the show is not as plot-driven as the latter mentions. I think there is much to be said about the breath of fresh air Hilda brings to the table.

Hilda has a special place in my heart for how she managed to bring wonder and joy into my viewing experience. This season, took on a more ominous turn where the adventures get deadlier and the stakes get higher in this little world of the blue-haired adventurer.

Season 3 was commented on by the viewers as "underwhelming and inconclusive" and that it tore its own "fan theories" apart. Personally, I loved that the showrunner revealed everything and also nothing because that's the point.

Hilda is not about a big mystery, it's a pure adventure and curious exploration of the mythology surrounding Trollberg and the rest of the world in Hilda. The feeling of fulfilment but also, melancholy that the series has ended is in my opinion, the best conclusion.

Admittedly, I didn't know how to end the post. I just wanted to get my thoughts out about these three shows and how it ended. It feels like the end of another era. A close to another chapter for animation and the stories it can tell.

These three shows; Amphibia, The Owl House and Hilda proved that animation is still taking new heights but still maintains the charm of what stories are. A good ending where the arc may be over but the adventures will still carry on.

It's been a fun and tear-jerking journey with Hilda, Luz and Anne. Their worlds are unique and brimming with excitement that I haven't felt in years and a desire to catch up more.

I'll miss them dearly but hey, such is the life of an adventurer. Don't be sad that it's over. Be happy that it happened and above all. Go make your own stories!

[the-s1lly-corner]

It'll be nice if you would be able to do head cannons of the TADC crew having to deal with a reader that has a biting on things problem have it and looks like a dog/pup (depending if you want to set an age range)

Like no one knows if they're just really playing into their part of being a annoying gremlin or they had a bad habit of chewing things in the real world then it being intensivize since being trapped in the digital prison

TADC cast x dog!reader who bites things! (Platonic!)

Wasnt sure whether to go with a dog or puppy reader but UHUH!!

Written on mobile! Gonna knock out some requests then I might work on art today!

This may be on the short side, I hope that's okay! I've been having some struggles thinking up hcs for TADC stuff the past few days <\3

Probably the first TADC post where I actually write the character segments in order (of them being listed) instead of bouncing around LMAO

CAINE:

You know how some people blow bubbles for their dogs to play with them, letting them chase and pop them? I feel like he'd do that with you and bubble (whether or not you view this as bubble torment is up to you, personally I don't think bubble would give too much of a darn).. may or may not help with your biting habit, or maybe it makes it worse? Really I think it depends !

Gives loads of hesd oats and chin scratches, I think!

POMNI:

Has probably caught you chewing on the dangle... bell.. end parts... of her hat when she has her back to you. Too nice to scold you but tries to politely redirect you to chewing on something else that isnt a part of her person..! Tries to ask why you chew on things, but even you don't seem to know the source so you're both just kind of.. stumped.. definitely not mean about reminding you of her boundaries

RAGATHA:

Probably tries to find you a oral.. fidget.. thing.. I forgot the proper term of them but you know how theres some stuff that's made specifically for oral fixiations and chewing and stuff? Like those chewable necklaces and stuff? Those! I think ragatha would try to find you one of those, or a safe stand in! Though.. does it really need to be safe if this is your digital body...? Has probably made you a blanket with bones on it, or maybe a bone shaped plushie

JAX:

Honestly whether or not he gets annoyed by your chewing habit is 50/50, I think! I mean it's not like he can say anything, I personally hc that he has a huge habit of fidgeting with anything and everything (though... I tend to write jax to be a bit of a hypocrite, given the "I like watching funny things happen to people" and then immediately getting mad when something funny happens to him)

Do I think he would let you chew on him, or any if his belongings? No, absolutely not. But would he grab something from someone else? Oh yeah most likely

Probably plays fetch/catch with you, if that's something you're interested in, though he suggests it in a way that you csnt tell if he is teasing you or not

KINGER:

Obligatory he gives off dad vibes so hes a dog person (is that a dad trait?? Or was I just exposed to that a lot in media as a kid?) So he kind of gravitates towards you because "dog :)". Obviously he knows you're a person, and he doesn't really do anything to treat you as anything less outside of that! Honestly you guys probably develop a father/kid dynamic, maybe!

"Hes just a little guy," he says after you take a comical bite out of the circus' walls (imagine the trope in cartoons where there's a bite out of something and theres the teeth marks)

Honestly doesnt care if you chew on his robe, either he truly doesnt mind or hes just too spaced out to notice. Tends to flip flop between those

ZOOBLE:

Similar to jax, whether or not they get onto you for the chewing is a coin toss. I think it really depends on how zooble is feeling that day! They tend to get more irritated than the others, I think, at least going off of the pilot. And they dont want to upset you, truly, they dont because you guys are friends! But zooble really values their belongings and personal space so they may get a little short with you if you decide to munch on those! Though, I think that despite the "I dont care" attitude, theyd try to find an alternative that works for you both!

GANGLE:

Too shy and sweet to tell you to stop if you start chewing on something you dont want her to; if she does eventually bring it up its probably after the fact.. tries to talk it out with you to figure out why you do that.. is it a stim? A simple habit? Something else entirely? But you dont seem to know the answer... I think she would do what ragatha does and tries to find you something you use long term as a chew; or maybe even tries to find you a habit if it's one you personally want to work on! Though she won't force you to change, if it's not something you want

[ilikekidsshows]

In retrospect do you think there were any major red flags in writing up to the S3 finale of ML that foreshadowed its downfall in future seasons or do you think it all started in what you call the retool era (S4&5).

I’d say we’re dealing with a lot of “recurring issues” and some actual red flags. As I’ve stated repeatedly, the New York Special basically has the same Ladynoir break up and get back together plot as season four, and it was bad in the New York Special and absolutely horrid in season four. Also, the show’s worst episodes, ���Reflekdoll’ and ‘Kwamibuster’ reflect a lot of the writers’ more asinine writing decisions in the future. The New York Special and some season three episodes are, therefore, definitive red flags.

But yeah, the earlier seasons had some warning signs too. Adrien/Cat Noir is presented first and foremost as a lust object of Marinette’s. We don’t see Marinette appreciating Adrien as a person until ‘Origins’; before that point she’s only literally staring slack-jawed and drooling at Adrien’s photoshoots and ads. Marinette is also destructively jealous of Adrien from the point Lila is introduced, and she only escalates with the introduction of Kagami. Marinette’s objectification of Adrien has been in the show since its inception, considering that the original Adrien, thePV Félix, is presented in promotional materials as sullen, rude and unpleasant, meaning Marinette’s infatuation was most likely purely based on his looks. So, like, the sexism of heterosexual romance but the genders are just reversed is part of the show’s DNA.

Another important thing to note about the series is that our only Adrien-focused episodes, that focus on Adrien having some kind of a development arc with his feelings where he gets to be proactive about them instead of the show just showing the audience “oh, he’s upset now” or “oh, he’s happy now” and don’t still give Marinette a lion’s share of the focus and emotional weight, are ‘Copycat’ and ‘Santa Claws’, maybe arguably ‘Gorizilla’, though I suspect the Marinette trying to score a date segment takes up far more time than the important reveal of Adrien’s family problems. The writers have always prioritized Marinette’s feelings over Adrien’s.

Adrien’s contributions on the superhero side of things have also been getting downplayed since the start. He’s the more likely target of slapstick, with the show pilot ‘Stormy Weather’ having him get treated like a ping pong ball. He’s the one getting brainwashed or taken out by the Akumas frequently. And he’s the one the heroes’ shared mentor ignores completely. In ‘Syren’, Fu had to be strongarmed into meeting Adrien once, and then he never made an effort again. This is also the episode where the idea that Adrien shouldn’t complain about being treated as less than and should just patiently wait for whatever scraps he gets as a member of a team is first introduced. However, this episode was easily overlooked at the time, because the episode, in the end, had Fu meeting with Adrien, seemingly setting up Adrien being treated more equally, a promise that was never followed up on.

Now, though, I’d like to say why these things went unnoticed as red flags and just being some recurring issues. The thing about Adrien’s objectification was this: the people watching thought it was a joke and a sign of Marinette’s immaturity. It was presented humorously, and Marinette started being less creepy at Adrien once she became more able to talk to him. This, coupled with other lessons Marinette had about clear communication with her loved ones, like ‘Weredad’ and ‘Befana’, made people believe Marinette was going to have a character arc to grow into a more mature person who’s able to treat Adrien like a human being. This is another promise the writers never followed up on when they then retconned Adrien into a RealDoll and made him Marinette’s therapist to make sure Marinette never has to treat Adrien normally.

As for the lack of Adrien focus, the reason it went unnoticed was actually the lesser focus on other heroes, and the deeper emphasis on the superhero action than in S4-5. There were less heroes and more time spent on Akuma fights, which meant more screen time for Adrien as Cat Noir at least. When Cat Noir is the primary character Ladybug can interact with, he gets to give plenty of input on things and when he’s Ladybug’s only backup, he gets to do more things in battles. And then we add to that the bigger time the earlier seasons spent on Akuma fights, we get more of both of those things. It’s simple math. So, while Adrien didn’t get to contribute decisively a lot, he did get to contribute. Also, they had this thing where Adrien’s eclectic studies would be used to have Cat Noir give Ladybug highly specific but useful information.

Basically, yeah, there were some red flags and other lesser but still worrying stuff too.

[carnivalcarriondiscarded]

everybody stay with me im shifting back into speculation & analyzing mode, this time about everybody's favorite pair of besties. ill put this under the cut for everyone's sakes

and please, take all of this with a Hefty grain of salt.

so ive been... thinking about a thing. a maybe-possibility. which if this has some merit, the part of me that loves characters having a good time and feeling good feels is screaming in fear. but the louder part of me that loves angst and hurting characters is rubbing its little fly hands together.

short version: i think Barnaby is going to emotionally distance from Wally, if not outright grow to resent him. maybe temporarily, maybe not.

full version: *cracks knuckles* strap in folks. so.

first of all, an entire chunk of Barnaby's bio is dedicated to his character relation to Wally. everyone else only has one-off lines dedicated to their relationships to other neighbors - even Frank & Julie just have single sentences about each other (note that they're described as "partnered with" and "depicted with" respectively. more on that soon). even Wally's bio has his Barnaby mention tacked onto the end of his first paragraph instead of being its own dedicated section

and then there's their character designs - their bios explicitly point out that they share characteristics; color schemes, hearts on their soles, similar outfits.

they were made to be best friends. literally. this quote is what made me start turning this theory over in my mind (sourced from @ /theneighborhoodwatch's collected & absolutely fascinating livestream trivia)

it appears that Barnaby literally did not have a say in whether or not he and Wally are friends. their bios even say "illustrated pages note that they were best friends multiple times." they have to be best friends.

which brings us back to Frank & Julie. they briefly reference each other in their bios, but they aren't described as best friends. it's incredibly likely that they were meant to be a romantic couple - i briefly covered that theory in this post (dont read the first one i was going insane) but they managed to avoid that. Frank and Julie defied the script and chose to be best friends instead.

and then in the trivia document a few more character relationships are briefly touched on, like how Howdy considers Barnaby a close friend, and Sally considers either Barnaby or Poppy as her closest friend, etc.

everyone else seems to be choosing who they're close with. they're forming their own opinions and dynamics and relationships. & its interesting that Barnaby is stated for both of these - as if implying that he may return the friendship feelings, or at the very least he's developed enough of a relationship with them to earn their affection

Barnaby and Wally... i doubt they ever got that. they were best friends from the start, no development, no choice. it's written into them.

and then there's how their relationship has been portrayed so far. i believe i saw an ask where Clown stated that Barnaby is very polite to Wally, which struck me as odd. have you ever had a polite relationship to your best friend? have you ever seen best friends be polite? i'd be surprised!

best friends mess with each other! they tease and rib and roast! what is a best friend for if not mutual tomfuckery?! jesting around? playfully pushing boundaries? a Polite best friendship... that's a straight up oxymoron. no such thing. that sounds boring and exhausting.

not only that, but the fact that Barnaby is often used for Wally's painting segments, and is the go-to guy for teaching Wally something new, is kind of concerning. it gives me the vibe that a big part of Barnaby's literal reason for existing is to be Wally's friend & guide.

which would make the fact of him being described as polite to Wally make sense. of course he's not going to push their relationship or try to deepen it - he's forming his own dynamics with the other neighbors. with Wally... it's already established. that is how they are with each other. that is what they are to each other.

and it's not like Wally can be the one to introduce nuances. i don't mean that as a slight or anything - he's just the way he's been described and the things stated about him that make me think that he wouldn't really... know how to? it just wouldn't occur to him. he probably thinks his and Barnaby's relationship is what a best friendship is and is how it should be.

but they have to hang out. they have to refer to each other as best friends. and while i believe that Wally does wholeheartedly think that they're best friends, close as can be... i doubt Barnaby feels the same. like - yes, he probably does care about Wally. everybody likes Wally.

but it's gotta be frustrating for Barnaby, especially as time goes on and he becomes more himself as a person over just being a character playing a part. it probably stunts his relationship growth with others, since his ~best friend spot~ is already taken and who would want to encroach on that? especially since its taken by Wally mcfuckin Darling?

their friendship might become less of a role and more of a responsibility. Barnaby might grow to feel obligated to stick with Wally as his "best friend". someone invites Barnaby to hang out and/or help with something? sorry, he has to pose for Wally's painting. Barnaby is trying to do his own thing? sorry, Wally is knocking on the door and asking for help with something.

i wonder if Barnaby ever hopes that Wally will go to someone else, or feels relief when he does. and then does he feel irritation/guilt over that denied hope or that granted relief? then does he get angry at himself for those emotions?

how would this effect how he treats Wally and acts around him? this confusing muddle of emotions and this strange growing resentment for his painfully earnest friend who only ever means well, if he means at all.

it makes me curious whether or not this theory has merit. and how this could come to a head. what would Barnaby, in this situation, do if/when he discovers that they're puppets on a set, and he's literally written to be Wally's bestie while everyone else changed their scripts and chose their own relationships.

personally, i don't think he'd be happy, and i doubt he'd handle it well.

[giantchasm]

“What is it that the child has to teach? The child naively believes that everything should be fair and everyone should be honest, that only good should prevail, that everyone should have what they want and there should be no pain or sadness The child believes the world should be perfect and is outraged to discover it is not. And the child is right.”

WOO! After a little over a month and 60+ hours of drawing, it's finally finished. The Peony animatic I promised you has, at long last, arrived.

It took a lot of work, but I'm super happy with how it came out! And, tbh, I'm already planning more animatics I want to do in the future.

I think the majority of you are already acquainted with Peony, but just in case you aren't, here's a quick rundown of her story, or at least what's covered in the video:

Peony has always known her family experienced quite a bit of strife before her birth, but she doesn’t quite understand the full extent of it until getting caught up in a horrible accident. After nearly losing her life, the young magician develops an affinity for Soul magic— more specifically a connection with the spirit plane, and thanks to that, she’s able to meet two very special people. Her deceased granddad and her father’s long-gone ex-best friend are far from perfect people, but Peony quickly warms up to them anyways. She can see they were dealt an unfair hand in life, and that the tragedies they were involved with weren’t necessarily their fault. As she sees it, they deserve a second chance. So that’s exactly what she’s going to give them! Peony resolves to find a way to bring her dead loved ones back to life… developing her powers more and more along the way and providing her family some much needed closure. But is something like resurrection really possible? It seems Peony may be flying too close to the sun. A certain fluttering fiend is keeping an eye on her, telling her it won’t allow her to disrupt the natural order of things, and that one can’t undo what has already been done. But Peony? She doesn’t know how to listen. The young girl will stop at nothing until she saves her two guardian angels and sets her family right.

...She's a stubborn little goober, that's for sure.

I love her, though, I really do, and I hope you love her too. This video was a real passion project, and I'm super happy with how it came out. I'm glad I could get it finished just before the round 3 polls of the OC Tourney start.

Remember, everyone! Peony for president. Girl's already ready to throw hands with a god.

@kirbyoctournament

Some of my favorite frames will be under the cut with annotations/interesting details pointed out.

I really enjoyed the crayon drawing aspect of this video. The doodles were super fun to do and added a lot of character to it!

One may have noticed that the way Peony drew her mother's side of the family changed, though, as she told their story... and that's not just to represent them getting older! The way she drew their eyes and other stuff changed because during the later half she depicts them with their cybernetics, whereas during the beginning of their tale, she doesn't. Pretty cool stuff.

Technically, in Peony's story, she can't really touch/physically interact with the ghosts... at least not at the point in the timeline this part of the animatic takes place during. All the same, though, I decided to fudge it just a little for more interesting character interactions.

This frame depicts Peony's near death experience, LOL. Don't worry about it... she's fine in the end. In general, this segment of the animatic displays her story a little more chronologically, showing how she developed her powers, learned who the ghosts were, and got better and better at using aforementioned powers.

Shortly after Peony's near-death-experience, Morpho Knight tried to reap Sectonia and Haltmann for interfering with the living world and helping save her life. However, Peony, even not knowing who they were at the time, stood up for them- offering up her life, instead, and Morpho Knight, impressed by the display of bravery, allowed it to slide for now.

...Stars, it's going soft, isn't it? Stupid Kirby

Peony doing some detective work! I really like the framing of this drawing. Here you can see Taranza and Joronia when they were younger alongside Haltmann and Susie pre-cybernetics, like I mentioned earlier.

This bit is meant to be Peony finally confronting the ghosts (or- well, more specifically her granddad) about knowing who they are. She points out that she and him HAVE to be related. Look! They share the same hair fwoof!

There's a very distinct scene I have in my mind for the first time Peony is ever able to physically interact with the ghosts. She's making flower crowns and jokingly tries to put one on Sectonia's head, only for it to work. Needless to say, they're both shocked, then delighted.

These reunions make me feel things. Admittedly stuff is still a little complicated between Susie and her father, but ultimately she is glad to see him... and as for the spiders? I think they missed each other more than they could possibly put into words. They're so, so happy.

This is one of my favorite sets of frames. It took FOREVER to do all of the little doodles, but it turned out looking awesome, as did the ripping effect! See if you can spot all of the different family traumas she's depicted.

I like to think eventually Peony acquires some precious heirlooms. Sectonia hands down the matching scarf she had with Taranza but discarded when she went mad. Haltmann, meanwhile, no longer has his pocket watch, but when Peony tries to surprise him with a new one as a gift, only to realize he can't really hold onto it, he tells her to take care of it for him 'until he can.' This is something she does with pride.

Originally, I wasn't quite sure what I wanted to do with these sets of frames. I mean... I knew I wanted to have Peony walking past her family thriving, but I didn't know how I wanted to orient the group. I figured they'd be best in sets of two, but wasn't sure how to sort them out.

If I were to draw her parents with their dead loved ones, I feared I'd sort of be insinuating their bond with each other wasn't as important now that they had those dead loved ones back, and that isn't true at all. But if I were to draw the living characters and dead characters together... well, that wouldn't really represent how Peony changed the family, now would it?

Ultimately, I decided to draw Susie hanging out with Sectonia and Taranza talking with Haltmann. I thought it'd be a nice way to represent the group as a whole have become a ragtag sort of family. Everyone loves everyone here.

This is one of my favorite frames. I simply think it's so cute. Peony is so, so beloved, and she loves her weird little family so much, too.

I adore these final three frames. Throughout the animatic, the crayon drawings are used to represent her family's tumultuous past, but finally, Peony depicts a more positive moment, quite literally slapping it over a sad one. It's a symbol of her determination to rewrite their— rewrite her— story, no matter what it takes.

Little does she know, even if she ultimately can't bring Sectonia and Haltmann back from the dead, she's already given both them and her parents a happier ending. They're all together, at least, and that's what matters most.

[felassan]

Cliff notes on the new info on Dragon Age: The Veilguard from the print issue of Game Informer (DA:TV spoiler warning for link) that came out the other day (magazine hub link) that contained story spoilers - spoiler free version. This post is a version of this post (DA:TV spoiler warning for link), only with story-related information of note removed.

In CC you can customize things like shoulder width, chest size, glute size, hip width, how bloodshot your eyes are, nose crookedness, and more

There are hundreds of sliders for body proportions

CC detail: “Features like skin hue, tone, melanin”

There is nudity in DA:TV, “which I learned firsthand while customizing my Rook” in CC

Rook’s backstory also affects “reputation standing”, along with the other previously-known things like in-game dialogue etc

Lords of Fortune are pirate-themed, “piratic”

Rook ascends because of competency, not because of a magical McGuffin, contrasting with the ‘destiny-has-chosen you’ angle DA:I has for the Inquisitor

Rook is here because they chose to be, “and that speaks to the kind of character that we’ve built. Someone needs to stop this, and Rook says, ‘I guess that’s me'”

The 4 voices we can choose for Rook each have a pitch shifter in CC

The game starts inside the bar (as previously detailed in other coverage)

In some dialogue wheels there is a “romantically inclined ‘emotional’ response” option. These are the replies that will build relationships with characters, romantic and platonic alike, but you can ignore them if you want to. Giving a companion the cold shoulder might nudge them into another companion’s embrace however

Bellara’s surname is Lutara

In the streets of Minrathous (in the opening segment of the game), there is a wide, winding pathway with a pub which has a dozen NPCs in it (is this The Swan tavern?)

The devs used the DA:TV CC to make each in-world NPC, except for specific characters like companions

There is smart use of verticality, scaling and wayfinding in the gameplay

If you play as e.g. a qunari Rook, the camera adjusts to ensure larger characters like them loom over those below. The camera also adjusts appropriately for dwarves to demonstrate their smaller stature

Neve Gallus is described as being capable

Demons are fully redesigned in this game, on their original premise as creatures of feeling that live and die off the emotions around them. “As such, they are just a floating nervous system, pushed into this world from the Fade, rapidly assembled into bodies out of whatever scraps they find”

Our base in this game is the place where the team bonds, grows, and prepares for its adventures

Clock symbols over dialogue icons signal optional dialogue options

If you are playing, e.g., a qunari, and you encounter elfy stuff, you might be missing unique dialogue options and an elf Rook would have more to say at that point

“There’s a heavy emphasis on storytelling and dialogue, and it feels deep and meaty, like a good fantasy novel. BioWare doesn’t shy away from minutes-long cutscenes”

For Rook, this story is about what does it mean to be a leader? We define their leadership style with our choices. “From the sound of it, my team will react to my chosen leadership style in how my relationships play out.” This is demonstrated within the game’s dialogue and a special relationship meter on each character’s companion screen

In gameplay/combat, players complete every swing in real time. Special care was taken in development for animation swing-through and cancelling. We can dash, parry, charge moves, and a completely revamped healing system that allows us to use potions at our discretion by hitting right on the d-pad. You can combo attacks and even ‘bookmark’ combos with a quick dash, which means that you can pause a combo’s status with a dash to safety and continue the rest of the combo afterward

Abilities can be used to customize your kit. They can be used on the fly as long as you account for cooldowns

When you pause and pull up the ability Wheel, it highlights you and your companions’ skills. There you can choose abilities, queue them, target specific enemies, and strategize with synergies and combos

Each character plays the same in that you execute light and heavy attacks with the same buttons, use abilities with the same buttons, and interact with the combo wheel in the same way, regardless of which class you select

Sword and shield warriors can hip-fire or aim their shield and throw it like Captain America

Warriors can parry incoming attacks which can stagger enemies. Rogues have a larger parry window. The mage the writer played couldn’t parry at all. Instead they throw up a shield that blocks incoming attacks automatically, so long as you have the mana to maintain it

On the start/pause screen: it has the map, journal, character sheets, skill tree, and a library for lore information. You can use it to cross-compare equipment and equip new gear for Rook and their companions, build weapon loadouts for quick change-ups mid-combat, and customize you and your party’s abilities and builds via an easy-to-understand skill tree. There aren’t in-depth minutiae, just "real numbers”. For example, an unlocked trait might increase damage by 25 percent against armor, but that’s as in-depth as the numbers get. Passive abilities unlock jump attacks and guarantee critical hit opportunities, while abilities add moves like a Wall of Fire to your arsenal if you’re a mage. As you spec out this skill tree, which is 100 percent bespoke to each class, you’ll work closer to unlocking a spec, complete with a unique ultimate ability

Combat is flashy and quick, with different types of health bars. Greenish-blue represents a barrier, which is taken down most effectively with ranged attacks

The game is gorgeous, with sprinkles, droplets, and splashes of magic in each attack a mage unleashes

The game looks amazing on consoles both in fidelity and performance modes

Bellara is bubbly, witty, and charming. She is spunky and effervescent, a sweetheart and a nerd for ancient elven artifacts, which is why she’s dressed more like an academic than a combatant

While Neve uses ice magic and can slow time with a special ability, Bellara specializes in electricity, and she can also use magic to heal you. electricity magic is effective against a certain mob type. “However, without Bellara, we could also equip a rune that converts my ice magic, for a brief duration, into electricity to counter the [enemies]”

If you don’t direct your companions in combat, they are fully independent and will attack on their own

The style of the game is more high fantasy than anything in the series thus far and almost reminiscent of the whimsy of Fable. Matt Rhodes says that this is the result of the game’s newfound dose of magic: “The use of magic has been an evolution as the series has gone on. In the past, you could hint at cooler magical things in the corner because you couldn’t actually go there, but now we actually can, and it’s fun to showcase that.” however, areas of whimsy will starkly contrast to the game’s other areas. The devs promise some grim locations and even grimmer story moments because, without that contrast, everything falls flat. Corinne says it’s like a “thread of optimism” pulled through otherworldly chaos ravaging Thedas.

We can advance our bonds with our companions on their own personal quests and by including them in our party on main quests. Every Relationship Level you rank up, shown on their character sheet, nets you a skill point to spend on them. “The choices you make, what you say to companions, how you help them, and more all matter to their development as characters and party members”. Each companion has access to 5 abilities.

Each companion has issues, problems, and personal quests to complete.

You can create Arcane Bombs on enemies. It does high damage after being hit by a heavy attack

It sounds like mage characters can charge heavy attacks on their magical staffs. “then switch to magical daggers in a second loadout accessed with a quick tap of down on the d-pad to unleash some quick attacks”

Some enemies are “Frenzied”, meaning that they hit harder, move faster, and have more health

re: an arena-like boss fight "[it] attacks, hitting hard with unblockable, red-coded attacks and a massive shield that you need to take down first. It is weak to fire"

The design of the game is not open world. The devs describe it as a “hub-and-spoke” design where the needs of the story are served by the level design. it is not a connected open world. locations include Minrathous, tropical beaches, Arlathan Forest, “to grim and gothic areas and elsewhere”. Some of these areas are large and full of secrets and treasures. Others are smaller and more focused on linear storytelling.

Each location has a minimap, though linear levels won’t have the 'fog of war’ that disappears as you explore like in some of the game’s bigger locations

The game has the largest number of diverse biomes in DA history

The Thedas of DA:TV “lives in the uncertainty”. “the mystery of its narrative”, “the implications of its lore”

The writer is surprised by BioWare’s command over the notoriously difficult Frostbite engine, and by how much narrative thought the dev team poured into these characters, even for BioWare.

—

[source: the Game Informer pages from Issue 367 - the cover story from June 18th (link), two] <- DA:TV spoiler warning for links

[simplyofthestars]

I'm yapping about some sonic shit i came up with (maybe a fangame if i actually knew how to game develop but im learning)

Okay so everybody knows and loves shadow right? and then there's Shadows shadow who every one knows is Mephiles and Mephiles doesn't get shit from Sega.

Yeah he might be in some games but that's just as playable skins and makes cameos every now and then (correct me if im wrong). His main role as an antagonist went to one of the worst Sonic games in history and I personally believe that he deserves something better than that.

HE'S SUPER COOL

He was a big bad who was a sun god split in half like how cool is that? And his design was fucking awesome, like look at this:

Even just by looking at him you're like "This guy is up to no good" cause he's so evil and icy looking which is the opposite of Iblis (still evil looking but fire related instead)

Now I don't give a flying FUCK that this guy is canonically dead, it's Sonic 06 so nothing is canon (aside from the managing to actually kill sonic part, i wanna keep that in)

You rn: "Okay pump the brakes yapfest, the tags promised me sonadow and rouge the bat. What do they have to with Mii-files."

Me: "SsssshHHshHSHsHHHHHHHhhhh. I getting to that."

Now imagine this with me Rouge stans,

✨Evil counterpart that is like the Rouge version of Mephiles✨

"Oh but that can't happen cause Mephiles wasn't originally a copy of shadow he just took that form"

"Mephiles didn't even meet Rouge"

"Mephiles is dead"

SHUT UP, SHUT THE FUCK UP, LET ME DREAM

EVIL ROUGE

Rouge is a boss bitch who's such an under-used concept in Sonic games and she deserves a game when she's the STAR and not on the sidelines.

Like you can't be serving this much cunt and just be a side character

So Mephiles was named after Mephistopheles who's a german demon guy (either that or Mephitis which is poison gas from swamps and volcanos and stuff) So why not give evil Rouge a name that'll make half the christian population angry? (And to the chill christians who're fine with that, you guys are cool i like you guys)

So I was thinkin: "Hmmmmmmmmmm. Rouge wants the chaos emeralds for her own gain and cause they look pretty. I mean that would sit her somewhere under Envy (cause she WANTS that shit, also im not calling her mammon(greed) or belphegor (sloth)) so that's Leviathan. I would have to re-name her into something that still lets you know 'yeah that's rouge' but also lets you know 'that's not our rouge' so I guess I'll make it Levia (Leh-vee-ah) or Levia (Leh-v-eye-ah)" (ya'll choose which pronounciation ya'll like)

THE STORY OR SOMETHING

So Levia and Mephiles are like "Okay, brother we ain't having that shit, time to kill everyone" for no reason (my excuse is cause I haven't figured it out yet)

Sonadow fans: "LIAR"

Me: "FINE I'LL EXPLAIN THE SONADOW PART"

SONADOW SEGMENT

Everybody knows how fruity they were in Prime and the fact that Sonic (sort of) HUGGED Shadow and he was just like "yep this is happening" and didn't force Sonic to take his hand away like in the past was a dead giveaway

Now obviously they're still arch enemies (what's he arching? his back? okay I'm done I'll get back to explaining) but they would obviously be closer after the past 23 YEARS that they've been fighting. And everyone knows that when it comes to fighting each other they don't hesitate (I mean maybe Sonic does) but then an even bigger evil shows up (Mephiles for example) and they work together.

EXAMPLES:

Nines in Prime (Working together to get their univese back)

Black Doom (Stopping Shadows evil dad from killing all of humanity)

Mephiles and Iblis (Trying to stop them from forming Solaris)

Eggman in fucking everything

Okay I'm out of examples since I know Sonic stuff but im not THAT much of a nerd

So yap yap yap, yada yada yada, they gay

BACK TO THE STORY OR SOMETHING

Levia and Mephiles build a giant evil omega (no i'm not calling him Alpha or Beta, im tired of those jokes) who is basically as big as eggmans death egg in the 2nd movie (but like half the size since he still needs to go everywhere with Levia and Mephiles)

He doesn't actually fight or that would be unfair so he just puts his arms around the battlefield, smacks them down every now and then to shake the ground and keep you on your toes and just sits there.

Now for obvious reasons, Mephiles changes his form a little since he can't look like Shadow forever and learns how to sustain himself without Iblis and fights like a champ but Levia is like "Dude, we can't do nothing without the chaos emeralds if we want to destroy this world and it's meaningless purpose" and Mephiles is like "Ight" and that's as far as I've gotten

I'm going to draw them maybe and ya'll sit tight 🫡

[horrorvisuals]

The Dark Eye (1995) is a first-person psychological horror adventure where you recite Edgar Allan Poe's stories through the perspectives of both murderer and the victim.

It features uncanny valley grotesque, stop-motion visuals, and clay-modeled characters.

Plays in a classic point-and-click adventure style, the game doesn't really put you into any life-or-death situations or doesn't give you choices. There are stories to go through and you are there to witness them.

Throughout the game, you go through some of Poe's favorite stories: The Cask of Amontillado, The Tell-Tale Heart, and Berenice.

Additionally, you can listen to William S. Burroughs' voiceovers featuring The Masque of the Red Death and Annabel Lee.

Many of these scenes play as QuickTime movies. Sometimes in full-screen, or sometimes in smaller, looping segments. The game as a whole has an experimental look and these only add to its already creepy atmosphere.

While the game features Poe's known stories, it doesn't ONLY rely on them but rather uses a unique plotline as a framing device. The gameplay occurs in two different aesthetic modes. While one is more realistic, the other is dreamy or perhaps even nightmarish.

Set in the late 1800s (as interpreted, not confirmed), the nameless character visits his uncle Edwin. Controlling this character, you meet Edwin himself and your brother Henry.

You then have a whiff of the paint thinner Edwin was using while painting, and go into a "trip".

Developed by Inscape, it was released for Windows and Mac OS. The game is now in abandonware status and you should be able to find it online.

If you want, can play it on your browser here: https://classicreload.com/win3x-dark-eye.html

[ultraericthered]

Random Untitled Erika Furudo Post

Was thinking about Umineko lately, and namely the antagonists in Umineko, of which there are several. This "hot take" post here calls them to mind:

And here's my own hot take that it led me to: Erika Furudo is one of the most well humanized and developed villains in Umineko, and it makes her one of the most likable. Which on its face seems totally against what we all agree makes Erika Furudo the powerhouse of gloriously over-the-top, wretched, reprehensible villainy that she is: she's the worst little gremlin ever and we love to hate her for that.

Hating on Erika and having fun doing so is a what. How about the why that makes it so possible and so invigorating? The heart of it if you will, ironic given that Erika's fundamental weakness is in how she ignores the heart of any given mystery situation she investigates. When you get down to it, there's honestly very little about Erika's basic overlining characterization that's too terribly unlikable any moreso than other Umineko characters. Even when she has to play an evil role, she's like a Batman villain - sort of a combination of the Riddler, Harley Quinn, Lady Firefly and Killer Moth - who's too fun and extravaggent to loathe too much. Most of what is viscerally hateable and despicable about Erika doesn't really come from Erika alone, but from her master Bernkastel and what she brings out in Erika. Bernkastel is the one who built her up to be the greatest, most specialist and awesomest super detective ever or else. She's the one who hard-wired Erika to behave as terribly as she often does through what Lambda calls a process for creating the Grade A Bully (abuse and demean person repeatedly, then give that person power). She's the one who, as Erika's master, directly assigns Erika to all of her objectives and either orders or encourages the methods she turns to. And she even made Erika her personalized doppelganger piece who shares her blue hair and face (and possibly the name, a play on Rika Furude.) In order to please and recieve the love and praise of such a thoroughly cruel and cold-hearted master, Erika emulates her in being just as cruel and cold-hearted. Whenever Erika morphs into the worst concievable version of herself, it's because she's had Bern's prodding and Bern's permission. Bern and Erika are two identical faces to the same whole menace, and we thus despise them both.

But here's the most twisted and deepest facet of Erika's character: we're shown on a number of occassions that were she not tied to Bern, and was just free to act on her own and follow her own course as the detective she naturally is, Erika would not be an evil person. She is, at her core, a maladjusted, arrogant, unkind, deeply flawed, morally gray antihero type character; not all good, but not truly evil. And this is fundamental in understanding why Erika is how she is and appreciating the value in the role she plays. In the extra meta joke segment of the Umineko special epilogue written by Ryukishi07, Last Note of the Golden Witch, there's a very morbidly humorous sequence where some of Erika's characteristics and some of her deeds are being described to characters who've lost all memory of who Erika was, and their takeaway is that whoever was being described sounds like the worst kind of person in the world who no one would ever want to be friends with or invite to parties. A savage evisceration of Erika's character that she's not even present to hear, but the ironic "punchline" of this bit is that, like Erika herself, all these people are missing the heart, as they cannot remember that heart. For without love, it cannot be seen; they've lost memory of the love they all had for this person along with the dislike and displeasure of her unsavory qualities, so they cannot see what reason there could concievably be to want her around. But when they do all regain their memories of Erika's existence, they revert back to knowing that while Erika may be a pain in their rear ends, she's also a precious friend to them who they cherish and appreciate in spite of her many flaws.

This is what I believe to be the paradox that makes up the core of Erika Furudo's character: she is a character who evokes and earns our irritation, disgust, and hatred of her every step of the journey while also being a character that even we can recognize deserves to be loved and be shown love. We love to hate Erika not simply because she's The Worst, we love to hate Erika because we know she has it in her to be better. And so long as she's being The Worst instead, we relish her comeuppances and hope she gets taught a good lesson from all the mishaps and that maybe, just perhaps, long shot though it may be, it'll help her grow and improve in the long run. Through this she crosses the line into being quite a lovable and popular character, as our own softer feelings on her manifest in five different ways: - Affectionate endearment and adoring of her cuteness and quirks. - Amusement at her antics and how humorous she can be. - Pity and sympathy for her when she's sad, pathetic, in pain, etc. - Begrudging respect and admiration for her better qualities. - Even finding her to be distressingly relatable at times! Yes really!

A well known piece of trivia among fans is that much like Princess Azula of Avatar: the Last Airbender fame, the character concept that ultimately became Erika began as a male character - the evil young detective Virgilius, who'd be introduced in EP3 posing as an obscure and overlooked member of the Ushiromiya family, would investigate a dark, brutal version of the Rokkenjima murders that would tie into the origins of Beatrice, and would become Battler's archrival who'd clash with him as a recurring antagonist afterwards. He had only a concept, rough character design, and a few planned scenes to his name before he ended up getting scrapped, but from the look of him, Virigilius was set up to be the Anti-Battler whose character would parallel Battler's own despite the superficial differences. While I'm not the biggest fan of EP2 compared to the other chapters that aren't EP7, I'm ultimately thankful it turned out like it did, as the polarized and confounded fan response led to Ryukishi07 overhauling his plans for the following chapter, replacing Virgilius with the very different Virgilia, and repurposing those original EP3 concepts for EP5. And Erika Furudo as we know her was effected in a major way by two fateful decisions: bumping her debut up to EP5, and making her female. The former tremendously changed up what her dynamic with Battler would be like, having it start off like what was planned for Virgilius but at a more appropriate place in the narrative for that sort of Difficulty Spike in the challenge presented by this character to Battler (rather than Virgilius "beating Battler down to rock bottom" in just the third arc) and then flipping the script completely so that Battler becomes Erika's "Beatrice" and Erika is now Golden Sorceror Battler's own "Battler", making for more interesting and meaningful conflict between them. And the latter meant that rather than be an Evil Counterpart to Battler as Virigilus was going to be, Erika instead became an Evil Counterpart to Ange, being brought in to replace Ange as Bern's piece to use against Lambda and with Ange herself noting the similarities at least twice (which is likely a huge factor in why Ange could so easily forgive Erika after the whole "wanted to marry and rape her big brother" thing, but then again Beato and even Battler himself have no hard feelings about that nasty business...)

Gonna spend the rest of this post with some manga panels from the EP5 adaptation, 'cause while I think Erika's humanizing moments in her subsequent appearances are well known, the manga art for EP5 that allows for more vibrant body language and expressive faces really adds to her and enhances the nuances in her characterization.

Erika's excited enthusiasm for chopsticks is 100% genuine, as is her request for Gohda to bring her chopsticks with which to eat the next dish, 'cause "with a pair of chopsticks, she can eat absolutely any dish!" Except that turns out not to be so, as the next dish is soup. There's a pin drop. Erika is no doubt embarrassed and internally going "Fuck fuck FUCK!" But, she saves face by giving a shrug with an adorably goofy grin on her cute little face, much to everyone's amusement. Of course this is also when everyone starts shilling her to an obnoxious, insufferable degree, but this was a good starting point for Erika's characterization and nice little gesture from her.

The family dinner continues to go well as Erika remains polite and laughs, jokes, and chats with all the others. It's part of her fake good girl routine and doesn't reflect her actual character, but as Jessica puts it, the Ushiromiya conference atmosphere is normally strained and not pleasant to endure. Even if it comes from a disingenuous place, Erika's done a decent thing by livening up the get-together and ensuring that everyone gets to enjoy themselves more than usual.

Note that all this happens before Erika has any reason to despise Battler, nor is she at the point where she wants to use him to find and attain the hidden gold just to spite Jessica and watch how the rest of the family reacts - she actually respects Piece Battler and gets along with him quite well, which is a harbinger for their dynamic to come.

I love that Erika and Dr. Nanjo spent a good many minutes on end just geeking out about different intellectually stimulating topics with each other, and she even uses her famed catchphrase in a joking manner. Granted, Nanjo is a bit inebriated from wine at the moment, but as a funny little aside, Erika says she wouldn't mind being so too!

This is when having someone as bright and genre-savvy as Erika with you during a tense and dangerous situation is a blessing, as she points out why it's both a cliched and terrible idea to split up and look in different places rather than stay together as a group. The scene then escalates into a joke where Erika mocks how easy Beatrice is being to figure out here and how "third-rate" it makes her seem as a culprit before randomly noting that third-rate action movies go in the direction opposite of third-rate horror and mystery stories because the main character can act alone yet always survive. Go figure!

Erika starts to get bored when it's seeming like the mystery isn't going to be an intellectual challenge to think her way through and figure out, and that face of her's conveys that she's not just being snarky here, she is actually getting disspirited by the unfolding of events and had really expected Beatrice to be a worthier opponent.

This is an interesting artistic choice, having a brief panel of Erika's face close up in between Battler's question and Erika giving her cheeky reply. I think she's meant to be thinking "Of course I have a heart. What kind of question is that?", because if she had no heart, she'd never had experienced heartbreak in her past relationship with her unnammed, unseen ex-boyfriend....but that only reminds her that it is because she suffered that heartbreak that she'd much prefer to NOT have a heart, to live in accordance with her mind, intellect and deductive reasoning rather than her heart and feelings for others.

Look at how excited she gets over a closed room! It's so precious! <3

And in another strangely relatable moment for Erika Furudo, she expresses some pleasure at the idea of finding Kinzo dead!

This is Mystery Nerd Erika Furudo fully unleashed. While she gets into smug, insufferable know-it-all territory and displays her lack of empathy by equating the mass murder of 18 people with fictional murders of fictional characters in fictional mystery stories (but to be fair to her, when you come from the Meta Realm and are well aware of the nature of "the gameboard" and "game pieces" in a Witch's Game, it's sort of hard not to have this mental conflation!), it starts off with some genuine gushing and trivia concerning her special interest, which is hard not to find a bit adorable and even identifiable.

After Battler demolishes Erika with facts concerning detective fiction that she didn't know or overlooked, Erika feels humiliated and furious over it, getting visibly flustered and twitchy but trying her best to not lose her cordial front and keep her respect for Battler, both internally and externally. When Battler tests her further, she's brought to the verge of tears from how embarrassed, shown up and shamed she's getting. Even when she's getting back to business as the detective, you can see the tears still in her eyes. Damn, this really cut her deep.

OK, now it's just getting funny. Poor Erika, your ego is so fragile!

Erika was absolutely petrified of having to give her full report of how her investigation's gone and what theories she's come up with to her beloved master. She fears her master will start to hate her and will abuse her verbally, emotionally, and physically for her failings. So Bern seeming to be chill and gracious brings her such visible relief...

....And then Lambda tears into her deductions and theories, ripping them to shreds with Red Truth, and being the most terrifying menace possible. Just look at how Erika takes to it: she's panicked, she's struck by stark horror, she's despairing and feeling violated here!

And there's the abusive treatment from Bern that Erika was fearing! Right after a moment where it looked like her master still had some degree of pride and respect towards her only to cruelly yank the chain and tear her down instead. Erika's horrified face really sells it.

She's the ultimate asshole, but how can you heart not break for her seeing her like this? Even she doesn't deserve to be put through this.

While this is mostly a strange and comical moment where Erika just spontaneously has an outburst at the breakfast table about how she's figured out how Battler was able to pull off an escape from the closed room of Kinzo's Study in an implausible way that he shouldn't have lived through, including saying stuff about her master than no one in the room would understand, this point at the end is just pitiful - Erika is close to shedding tears again and pleading out loud for Bern to forgive her and accept her, to not think her an incompetent failure who can't play her role right, and to not throw her away as her piece.

And then after Bern sends her a sign from above that she heard her plea and understands? We get this. And it's bizarrely wholesome.

This is a particularly interesting bit. Natsuhi tells Erika that she surely must have never really been in love before in her life. Which raises an eyebrow on Erika and she retreats into her head, thinking back to the girl in a shaky, unfaithful relationship that she used to be before she became the great detective and "intellecutal rapist". She dated some guy, she suspected him of being unfaithful to her and invaded his privacy in order to investigate and obtain proof of it, and she was heartbroken by how he threw her out and they broke things off...but in all those memories, she finds no proof that she was ever really, truly in love. And even now, she's never known a loving relationship.

Some really solid fleshing out of this brief line via artwork. When Natsuhi refuses to break down and confess her guilt, still insisting upon her innocence in all the murders (which she's right about, but Erika absolutely needs Natsuhi to be the TRUE "Beatrice" in this case so that Lambda's game can by won for her master and is going to follow the most heartless and twisted logic imaginable in order to reach the solution she wants to reach), Erika's eyes narrow in this very joyless way, shadow falls over her face, her expression glum. Almost like a part of her wanted this case to be wrapped up before she'd have to reach this point and go to the lengths she's about to go to, like she'd hoped she wouldn't have to resort to the slut shamey deduction she'll soon make and feels a bit icky deep down inside that it's about to come to that. She expresses both disdain and pity to Natsuhi, assigning her the blame for what she's about to pull as she was giving her that one chance to avoid it, and Natsuhi refused it.

This is all just so sweet, you almost forgot that Erika's a despicably villainous detective who intends to instill a reign of terror over Beato's gameboard in her master's name, and that Bernkastel is just as despicable for now showering Erika with all the kind treatment and rewards she'd been yearning for from her even when she mistreated her so horribly beforehand and will again horribly mistreat her later.

Just like that, all that kindness from her master, all that she'd been rewarded with, all that good, proud, accomplished feeling she had upon winning the game and becoming the Witch of Truth is gone. Erased. Utterly obliterated. With Lambda sadistically rubbing it in because she gets off on seeing the humiliation of friends and rivals. No wonder Erika undergoes what is by far her most massive mental breakdown in the series at this point and is ready to destroy Battler.

One of the most heartbreaking moments of pity and sympathy for Erika, which is then turned into one of the most heartwarming too. Dlanor comes to Erika's defense and validates the truth she'd managed to pull from this case as being effective and plausible, with Battler also vouching for it since while it can't be definitively proven, it can't be definitively disproved either, both Battler and Dlanor firing shots at Bern by reaffirming it's not a truth that can be written off as pathetic and arbitrarily denied, and Dlanor's vow to protect Erika and her truth finally breaking down all of Erika's walls as she wails and sobs on the floor. Even Lambda seems to find it sweet and pleasing!

Erika Furudo, wherever you are, know that we think you're the Worst Girl and we appreciate you for it. You're bad, and that's <Good>.