#emily says some things

[emiemi345]

Food for thought: If we got Gen 5 remakes that might mean COMPETITIVE TRIPLE AND ROTATION BATTLES

[muckyschmuck]

ultimately!

[wistfulwatcher]

Criminal Minds: Evolution | 17.01 Gold Star

[dangerousdan-dan]

Sometimes, liking a complex, well-written character means holding her close to your chest and protecting her from the "She did nothing wrong" blorbofication

[emily-mooon]

To make up for the fact that I didn’t do anything for them for Christmas, here’s another fake shoujo magazine chapter cover :]

pose ref ↓

HAHA ITS FROM ITAKISS!!!! Naoki and kotoko are nothing like the blorbs but I thought this pose worked for that scene (it’s apart of a much large page split into two images, but I decided to crop it cause the rest of it doesn’t matter tbh)

[flavia8]

You know. Something I really hate about a lot of popular fantasy books, and it's especially prevalent in Romantasy, is what passes for Feminism in them. It's a toothless fake, used as an aesthetic/seasoning. A sprinkle of *strong female character* and a dash of deceptively misogynistic everything else, and for the finishing touch a pinch of man who's slightly better than being openly sexist and Boom. Fantasy series led by a FMC.

Generally, the Female Main character either starts out or becomes incredibly powerful, but always, always, always her power is linked to the men around her. She supposedly has agency and makes her own choices but the choices she makes are between choices provided to her by men. Her male love interest is more powerful in SOME way, and ends up besting her in some way. Experience, training, power, there's always some way the man is better than her. Female characters are never allowed to just BE powerful. Or even just BE single. Often they give up their powers, or are forcibly stripped of them. They look down on other female characters for doing "feminine" work. And, they're stupid as hell to supposedly make them relatable or endearing. Often, the male mc is concerningly abusive but it's portrayed as dreamy, romantic and Ideal. (I genuinely get the love for villains, and enemies to not, and the love for morally grey characters, I genuinely do, but this isn't that, what happens in these books is just genuinely bad (if they actually were people) being portrayed through rose colored glasses) [And in some stories that could be genuinely interesting!] If there's a second Love Interest, he will just do the same awful shit to the MC but it's better now bc it's him.

If the female character isn't white, all of this + a staggering amount of racism. They're rarely MCs. They're fridged for the MCs, they serve the MCs, they're never as beautiful or powerful as the MC, they're stereotyped and portrayed as savage, vapid, comically evil, or just as a good guy with no character at all.

These books are presented as feminist and it pisses me off. Feminism is equality for all, and the fight for Women to be equal and have their own agency. To make their own decisions. Genuinely I believe writers should be able to write whatever they want. I have no issues with having "problematic" stuff in books. My issue is when people start to believe that this shit is feminist, and the author is so skilled and amazing, and it's a masterpiece! Fuck that.

[vntildavvn]

THE GROUP & TAKING CARE OF ASH AFTER CHRIS DIES IN FRONT OF HER

[anna-scribbles]

h-how do you ever finish any of your work? genuine question because you seem to be productive despite your agreste syndrome and I need to learn your ways. but also how do you ever finish any of your work

unclear. last night i stayed up and finished a report worth 25% of my grade at about 5am, arrived on time for my 9am lecture, and spent about half of it zoned out while thinking about seventeen year old emilie agreste. and i was one of the most active participants in the class discussion

[presiding]

a doctor turned serial killer turned doctor again, an actor who paints, a gang leader, a mining baron, and a vice overseer walk into the room.

oh yeah and they lead karnaca now.

dishonored 2 is my fav game but i think it's mid, story-wise. here's why dh1 works and why dh2's overarching story sorta misses

tl;dr: story integration is critical for gameplay that offers audience payoff, but emily's personal arc from dishonor to honor is inconsistently demonstrated in the story, and is not an interactive part of the gameplay.

essay/long version under cut >

recap: what's dishonored's deal

[skip if you want] dh1 is an underdog story: corvo is an honorable man swept up in the machinations of a callous city, so his canonical ending being 'this child will rule over an empire' isn't about the child's rule but rather about corvo's reputation being restored in a more hopeful city, due to his & the player's rejection of the violent connotations of the tagline 'revenge solves everything.'

similarly, in dh1 DLCs, daud's story arc is that of an anti-hero: a dishonorable man who realises too late he has done irreparable harm. he sees the error of his ways after a single monumental death, and eventually a single life redeems him when he/the player stepped in to circumvent a terrible fate for a child, enabling her to rule unfettered.

daud & corvo come to a satisfying conclusion within the extent of their narrative arcs. it doesn't matter that a child on a throne isn't really a fix for a decaying empire - the player's actions throughout the city of dunwall was what mattered - and these stories could be framed as parables. in that sense, young emily as a ruler is a metaphor for a hopeful future for the city & empire.

dishonored 1 & its DLCs are also great examples of storytelling with perfectly integrated gameplay - you, the player, worked towards the outcome that redeemed the protagonists.

in your efforts to save young emily, you either achieved a good outcome (corvo) or prevented a worse outcome (daud).

bringing us to dh2 -

what's emily's arc

emily's arc is a coming of age: we're introduced to a reigning empress who questions her role & skillset ("am i the empress my mother wanted me to be?"), then her titular fall from grace occurs. from there, she learns to reject the violent, selfish connotations in 'take back whats yours' tagline (a la daud & corvo!) while rediscovering why her rule is critical to the empire.

emily's rule is no longer metaphorical, but:

a literal thing for audience assessment (is emily a good ruler?) AND

the crux of her storyline.

at the beginning of dh2, emily is introduced as a disengaged leader ("i wish i could just run away from all this;" "i dont know if whether i should sail to the opposite side of the world, or have everyone around me executed"). the antihero has a precedent for the dishonored series in daud, so it's not at first glance an issue*, however, the fact that emily has ruled poorly reframes corvo & daud's endings as being less than ideal (a moralistic retcon) *we could talk here about how ready an audience was in 2016 for a flawed women as a protagonist, hell, even in 2023,,,

throwback to the beginning of this essay when i said:

'this child will rule over an empire' isn't about the child's rule but rather about corvo's reputation

emily's story arc, unlike for daud & corvo, is literally about the quality of her rule. we're no longer in metaphor territory (ironic phrase): a parable-style ending doesn't work.

does emily become a good ruler

we know she becomes a good ruler because the game says so. it is narrated to the audience via a (literal) word of god in the space of 30 seconds, after the final boss. the outsider tells us that emily becomes known as Just & Clever.

drawing a distinction here - this narration is not the same as the player actively being involved.

the player does not throughout the game become aware that emily has made political allies. during the game, she doesn't talk to these characters about saving karnaca or being a better ruler to the empire (there's a few lines might imply it, but you need to be actively looking and being careful to wait for every voice line. it's a far cry from daud & corvo's fight to save emily being unmissable - even though daud doesn't know at the beginning that's the goal).

how does the game show it

you can coincidentally not kill most of your subjects and never be aware that emily is looking to restore karnaca by means of instating a council - it's never brought up. it *couldn't* be brought up, because that council serves under the fake duke (armando), who is the last person she speaks to before she leaves for dunwall. its her suggestion that he rules karnaca, but armando's condition is that he will rule as he sees fit.

to back up a bit, emily's canonical method of restoring karnaca is by banding together key allies - hypatia, stilton, [byrne &or paolo], pastor, under a council beneath the duke's body double. they are passionate people who would each individually make worthwhile advisors, but if you think about those characters sitting at a table trying to reach an agreement, it feels like an assortment of people that emily didn't kill along the way and doesn't feel organic (up to interpretation). it's not stated if emily herself banded this council together, but logically she must have (worth a mention these are mostly characters that you as the player had reasonable rationale to kill during a high chaos run, except pastor). the underlying concept may be that karnaca's power is returned to its people - which is interesting given that the monarchy remains and armando's decision is final.

this overarching solution could also be taken as a critique to dh1's 'put your kid on the throne,' which is another reason its worthwhile looking at how emily was shown to be a better leader. obviously my point isn't that her solution was bad given the circumstance, but i mean she has very little agency here in all. if emily was shown to be more controlling as a leader, this could be interpreted as character growth, but that's not the case.

coming of age

how do you learn & grow when you can't specify your failings? emily doesn't really touch on her shortcomings as an empress. she non-specifically worries delilah makes a better empress than her. it's hard to argue her worries are meaningful when someone good at their job will still worry when lives are in the balance.

emily's best 'aha' moments (eg. crack in the slab comment about gaining perspective) are consistently undercut by a conversation with sokolov or meagan afterwards in which she demonstrates she hasn't learned anything (before the grand palace, emily condemns 'toadies sucking up to me' and is reminded by meagan that she's part of the problem). the story is confused about what it's trying to say about emily's progress, and when she's meant to show progress, if she was meant to show any progress at all. it could be argued that emily was never even a bad ruler, she had just been fed misinformation about the problems in karnaca and been the victim of slander by her political enemies. the game doesn't make this clear - it's easier to argue that the opposite is true given that her allies only have criticism.

worth a mention here that the heart quotes about armando - a fake ruler - interestingly mirror emily's character concerns. "see how he sighs? his life is a gilded cage." but this essay is already long.

while corvo & daud spend their games (and through the gameplay) 'earning' their redemption, emily is being led by the NPCs around her to a conclusion and a fix for the political mess in karnaca: meagan & sokolov guide emily to her missions, and there's no recurring quest for emily to investigate possible allies. she is able to gather the people she hasn't killed to herself by manner of... post-game narration. during the game, she's primarily concerned with getting her throne back.

an easy fix: if there had been less dialogue & narrative focus on emily's failings perhaps the ending would have felt more satisfying. it has the feel of cut content, but i don't know what was cut to be able to comment on it.

so what went wrong?

i can't help but wonder if arkane were worried they would lose a certain demographic if corvo wasn't playable (may have been deemed too much of a risk - 2013 was a different time), and so they had to take out story elements that were unique to emily's growth as a character/empress, because the usual storyline/gameplay integration had to work for both characters - in other words, gameplay that made sense for both corvo & emily was prioritised before emily's story & character development. which is a silly problem to have in a game that added character voices for the sake of improving characterisation - maybe emily's tale would have felt more akin to a parable if she had less lines that betrayed her ignorance (to the disdain of those around her).

i wish more care had been taken with emily's story. most players will never really notice the large variety of different endings - they're not particularly satisfying in and of themselves.

it's ironic that one of Emily's complaints is about her father/protector being overbearing, when his (parallel universe) presence in the gameplay may be one of the reasons her own narrative arc falls flat.

what are the upsides here

changing tune from what didn't work - don't you think the concept is fantastic? it's a great idea overall - can you imagine if the coming of age storyline was better integrated into the game?

it's valuable to talk about the integration of story and gameplay and characterisation from a craft perspective. dh2 genuinely is my favourite game - it's beautiful, the imm-sim design philosophy makes the world a delight to explore, the combat gives endless creative options for tackling any fight, there is a far greater diversity of cast in an in-text canonical way. there's loads to love!

i love emily as a dodgy leader, to me it adds interesting dimensionality to the outsider's narrations - of course in dunwall there's never a neat happily ever after! emily, like the outsider, both work well as characters who hold ultimate power but aren't necessarily worthy of it - and this makes perfect sense for the dishonored universe's morality & critiques of power. however, within this grey area there's still plenty of room for a satisfying ending, which isn't what we ended up with, whatever the true reason for that was. and also, damn, emily's a marked assassin empress, if she can't lead well then who can?

while dh1 was criticised for its narrative simplicity, dh2 in contrast and in hindsight shows us that simplicity isn't so bad - there's satisfaction in gameplay achieves a clear, simple narrative goal.

[vaggieslefteye]

YOU DIDN'T KNOW ↳ from Hazbin Hotel Season One (2024): 1x06 - "Welcome to Heaven"

[frankenfossil]

Oh! I nearly forgot, but can I ask the significance of this panel?

It comes directly after Dee explains that he can’t come and see her from the future whenever he wants. (Which is one of my favorite moments where Dee’s true eldritch horror leaks in to the story), so I assume it’s… sort of a metaphor? How Emily finds herself at the foot of something she realizes is much, much bigger than she contemplated before?

(Also, I just wanted to compliment you for this panel)

(The first time I saw it, I imagined Dee was showing her this on purpose, time traveling from sometime the same day to really show her what it would be like. An object lesson.

The second time I saw it, I started to wonder

Because Dee himself doesn’t really look aware of what is going on behind him.

And maybe, just maybe, this one moment in time has become the only moment that Dee allows himself to come back to to see Emily, the one moment where he can get lost in the crowd with every other time he came back to look. The one moment where he’s explaining why he can’t come back.

Just… Makes me sad, and I wanted to say thank you for that too, because I love these characters and the story they tell, the sweet and bitter.)

Oh!!!

(Quick test of my ability to find which chapter stuff happens in)

I love your reading of that Uluru panel!! I think I probably didn’t intend anything that deep with it; these time skip montage style chapters are pretty choppy and I’m usually trying to figure out a way to touch on all these brief scenes or moments that I don’t want to spend a whole chapter on for whatever reason, and arrange them in a way where the cuts aren’t too hideously abrupt. For visual reasons I try to contrast different locations and not put 2 dialogue heavy moments directly next to each other. Mood wise, I don’t really want to cut from something serious and angsty to something that’s a complete backflip on that. I also sometimes just feel like drawing a nice landscape and hope it achieves my aims on these fronts haha.

I think also here I was trying to move from that final sentence, “The present is more than enough”, to demonstrating them appreciating having that present together - being able to go do cool and enriching stuff, something not completely mundane but not completely fantastical either. (I mean... sightseeing within your own country is extremely normal, but going to Uluru from Melbourne... not a convenient day trip, since it’s 2000km; 25 hour solid driving, or you can fly in a few hours but I think you have to go via Sydney, so that makes it take at least twice as long I guess. Not that it's specified how long they're there for. I haven’t been myself but I’d love to one day...)

So, yeah!! More of a mechanical/compositional rationale than an intentional metaphor, but I think your reading makes complete sense and actually improves the page! (Sometimes I do intend visual metaphors... but sometimes they’re just happy accidents.)

And thanks for the compliment re the crowd of Dees!! I also love the moments I can lean into his eldritch qualities... they’re sadly few and far between but maybe that helps them be more surprising?? Definitely your first reading was what I intended, that he zigzagged back pretty quickly, probably even from within the conversation, but there is an inherent ambiguity to Dee’s time travelling where unless I take pains to spell it out, there really is no way to know when he’s come from. Even if he can be assumed to be taking every interaction chronologically, there’s no knowing how much time has passed for him between each visit. I don’t even know how to estimate how long his experience of time is, when he’s zigzagging back so densely all the time; even the number of living things on Earth any moment is an incomprehensibly mind-boggling number. That eldritch horror again!

Truth be told I hadn’t thought of him coming back to this moment and blending in with the crowd for the rest of the future ;_; but that’s so real... he could well be, the sad sack...

I had a different sillier thought from slightly misreading your question on first pass, which is that maybe he doesn’t originally know what’s going on behind him, but then later on as he’s just going about his business he goes “oh I know exactly how to punctuate that thing I said earlier!!!” and then does it as an afterthought. Oh to have the ability to add the things you wish you’d said to an earlier conversation 😂

[emiemi345]

"I want an episode with Chilli's mum!"

(A finger on the monkey's paw curls)

[apple-spider-vinegar]

Please feel free to explain your reasoning! Bonus points: specify which version of the Spider-Man you're most familiar with (Raimi, TASM, comics, cartoons, Insomniac games) and if that influences your answer. I'm dying to know what people think.

[britneyshakespeare]

i think very often about that telegraph article from 2011 asking various writers if they prefer wuthering heights or jane eyre, and blake morrison said:

Asking which you prefer out of Wuthering Heights and Jane Eyre is similar to the questions, “Are you John Lennon or Paul McCartney?” and “Are you cat or dog?” The more exciting people are John Lennon, cat and Wuthering Heights. But I am Paul McCartney, dog and Jane Eyre.

[jackienautism]

“How did this all get so fucked up?”

[emily-mooon]

Jonathan in my Itakiss AU: