#i understand these are the same characters but also they aren't!

[ramshacklefey]

One Day in the Life of Ivan Denisovich and The Things They Carried rewired parts of my brain. The Odyssey was a real treat. (Especially when some of my classmates who found the language rather opaque started gathering around me at morning homeroom to hear my retellings of last night's reading assignment.)

But I know some of you probably have or had a miserable time in English class, and that may have been partly because your school didn't properly prepare you for reading the books ahead of time, so you were just totally at sea all the way through.

If that's the case, here are some tips for getting more enjoyment out of a book you're struggling with!

Look up summaries of individual chapters (CliffsNotes usually has these). Then go back and read them. Having an idea of what's happening might help you follow along with language or writing styles that you're struggling with.

Let yourself skim over particular passages you're baffled by and latch onto the ones that make sense. Finding points that you can follow might help you make sense of the trickier ones by providing context.

If you don't understand a character's motivations, especially in older books and books that take place in a foreign country, it might be because you're missing context. That's okay, and your teacher isn't expecting you to have encyclopedic knowledge of the historical and cultural context for a book.

But also, even in the most unfamiliar circumstances, you can look for things that make sense to you. The characters are still people, and regardless of context, people are still people.

But also, sometimes you just can't relate to the character. That's ok. "Well I would never ____" Yes, but this person did. And here's why. In the world they live in, it made sense or it was the only thing they could do. And there are people in real life who do that. Now you've seen a little bit of why.

You don't have to like all the characters. Some characters (even the protagonists) you're supposed to hate. Sometimes that's because the author is saying, "This bastard is fucked up, but do you see how he got that way?" Sometimes it's, "This bitch made every wrong choice possible, but damn if it didn't make some wild drama."

Remember that sometimes the author may not explain exactly why something happens because it's supposed to be a bit of a mystery at first! Keep reading and see if it gets explained later!

Look up words in the dictionary!!

If you're having trouble keeping a lot of characters in your head, make a cast list. "John is Mary's brother and he's a bit of a dick."

It's okay if there are books you simply do not vibe with. Give them a fair shake, but really, even the kids who love English class are gonna have books they hate. I despised a few of the books I read for school. But remember that struggling with a book and not liking it aren't the same thing!

And for the love of everything holy. Ask. Your. Teacher. Questions. Write them down while you're reading and ask! If you're scared to ask in class, talk to them at another time! But I can guarantee that if you didn't understand something, some of your classmates didn't either. If your teacher is remotely competent, they'll be delighted to answer your questions.

And there are no questions too simple to ask in class!! "Why did this character do this thing?" "What's up with this sentence?" "I tried reading this, and here's what I think the events of this chapter were. Is that really what happened?" "What the heck is a ____?" "Why was this bit in here? It doesn't seem like it's important to the plot." "How do we know that ____ theme is in here?"

Yes, there are themes and symbols and motifs and whatever else in books. Your teacher isn't just making it up. People tell stories for a reason. The author is trying to communicate something to you. "Well why didn't they just say that?" Because saying it in a story shows you something about it. I can tell you, "Love isn't always enough to save you." or I can show you that by telling you a story about two people who fall in love and then get their shit wrecked. I can tell you, "This war happened and it was awful," or I can show you the people who were in it and what it did to them. I can tell you, "The government is a corrupt pile of festering feces," or I can show you what might happen if we keep going on the path we're on.

And you might not agree! You can say, "No, it wouldn't happen like that." You can say, "But this war was worth it because it resulted in this." You can say, "Actually, this particular social outcome seems pretty rad to me." That's okay because stories are a conversation, not the word of God from on high. But again, give the author a fair shake.

The most important thing is that you don't just give up if you're struggling. You're in school to learn! So accept that there are things you don't already know.

I straight up do not trust you if you did not enjoy a single book you had to read for English class. I know they assigned some real stuffy stinkers and the curriculum varies across districts but not one? Not The Outsiders? Not The Picture of Dorian Gray? Not Fahrenheit 451? Not even Frankenstein? Damn. That’s crazy.

[jennamoran]

If a strategist from Glitch were to try and go about killing a god (maybe they’ve backslided, maybe the god is just really annoying or trying to kill their friends), how would they go about doing it. What would be the best way to use Eide, Flore, Lore, or Wyrd?

-

Jenna, my readers are always asking me, how do you kill a god? But there is no one size fits all answer to killing gods.

You have to look within yourself.

You have to find the unique way of killing gods that expresses you.

-

Glitch is a game where you tell stories, and an important feature of stories about killing gods is that they are not all the same.

Some are long. Some short.

Some put their protagonists through heck. Some let them just glide through.

Stories can have very different ideas about what it takes, and what it means, to kill a god.

Gods, too, can differ.

-

If you're frustrated, looking at Glitch, trying to find the thing you're supposed to do to accomplish task X, you're misunderstanding the intended flow of play:

To kill a god, decide how you want to kill a god.

Then, express it in the form of actions.

Optionally, discover that you're misaligned with the group zeitgeist on how god-killing stories work, and adjust.

Then, the god dies, or doesn't.

If you're having trouble figuring out how you want to kill a god, then you might need to stick it on a back burner. Over time, you'll have a better understanding not just of the game options the traits provide but of how your character uses them, and some things your character might want to try will gain more dramatic weight in the group zeitgeist.

-

Decide you want to kill a god by shoving it out of your way into the street. Declare that as an everyday Ability action.

Decide you want to kill a god in a complicated flower rite. Declare that as a quest or planning miracle.

Chain it down in a place of sorrow with a Greater Invocation. Erase it with a handwave and your Wyrd. Give in to the wicked voice of your god-killing knife, that whispers to you always, and draw the curtain on the scene, and expect that when the next scene starts it will be dead.

Declare that gods aren't real, and let it poof away.

In every last case, perhaps the group goes, "Yeah, that's a satisfying answer!" Perhaps they don't. If they don't, then your action still "works," in that it happens unless in direct conflict with a stronger action, but it likely doesn't kill the god.

-

A secret is that this is not just how Glitch works.

In almost every RPG, the way you make something happen is get the group on board with that thing happening. All rules can do is help that happen.

If the rules of Glitch could make that happen then you wouldn't even have to read them, you wouldn't even have to know you were playing Glitch, you could think you were playing D&D and accidentally play Glitch instead and the rules would sort that out for you.

They can't.

-

When it comes to killing gods, the game of Glitch bestows a certain implicit authority on higher-level miracles, particularly epic miracles; miracles that take time to play out; miracles that imply in their description that they're on the right power level for killing gods.

Strategy and Greater Strategy are good ones when they apply, because you can get the players on board during the planning process, spend a while playing it out gathering narrative momentum, and then have it feel well-grounded when it works.

If you have a Talent for killing gods, then that probably works well, but also tends to reframe the game as one where you're killing a bunch of gods and more story time gets spent on the ones where there's a twist that makes it difficult. Think of the Traveller in Black; as competent as the traveller is, they still spend most of their time "in play" dealing with entities that are difficult even for them.

Greater Invocation is well-built for attacking gods.

Destruction and Greater Destruction can be good, though honestly they kind of push the GM to make a complex conflict out of it, which in turn means it's actually the Wailing Rite that would serve you best.

Flore is all kind of of one piece, but you'd definitely want to start with a Greater Glorification on a god-killing weapon.

-

If you decide in play to do something that the GM and group think you can probably do, but which they also think should feel difficult and earned, then you probably have to spend some time on either a quest or a spotlight-driven exploration of what's going on with that thing before coming up with a plan people think is cool, executing the plan, and then having the plan mostly work but devolve into some kind of chaotic complex conflict at the end to finish up the final details.

If you decide in play to kill a god ... well, probably the GM and group will believe you can, but also think it should feel difficult and earned. That's kind of what the book implies, at least.

-

In the old days---I once wrote this.

In the old days, they didn't know very much about the world. But they made maps anyway. If they had to map something they couldn't, they just drew whatever they felt like and wrote, "Here there be dragons."

We still don't know very much about the world; and there are things to map of it besides its surface.

How do you write a book?

How do you kill a god?

Can broken things be remade? Can destinies change? Is it worth the risk of hope?

Important questions, but one can only shrug, you see:

Here, there be dragons.

-

As for Glitch, I mean, like ... the game only has two rules, and they're not even a dozen words between them; some things had to be left as exercises for the reader, and the dreamer, and their group.

[graementality]

behold?? my full interpretation on all of the main factors of CCCC!! I don't know what compelled me to write all this but here we are. (whoops this got LONGG)

enjoy!

[disclaimer that this is my own interpretation and, while I take alot from canon, some of it will be closer to the fanon side of things. ]

[disclaimer 2 that I get all writery in certain parts and essentially write "from the characters' perspective" so those bits aren't MY OWN opinions, it's what I think they would feel about certain things C:]

[disclaimer 3 that alot of this is me stating the obvious, aswell as making them out to seem quite horrible, I promise I love them all and while they do have many flaws, they have good moments too </3 uhh ok yeah don't kill me with rocks pls]

Heart

• first of all: Heart has a huge victim complex. whether intentionally or not, he will always play the victim- he can get quite emotionally manipulative in this sense too. It can never be his fault- "he was provoked" "the other deserved it" "the other started it" "I'm innocent I'm innocent I'm innocent."

• he *can be* immature. now this word gets thrown around alot by Mind but i think he's 'immature' not in the sense that he throws tantrums and can't be trusted and has nothing of importance to say like Mind thinks. he is in the way that he refuses to listen to others, refuses to take the blame, and can also be quite petty and has a tendency to blow up (sound familiar? yeah. Minds immature too, we love Heart Mind parallels).

• he is spiteful and impulsive, but can you blame him? he's constantly being belittled and fought against; of course he's gonna take any chance he can to get back at Mind- to show him how it feels- to make him finally *listen*.

• Heart constantly feels like no one listens to him, that he is the disregarded part bcus he's "uncontrollable and unruly". this obviously forms alot of built up resentment because no one is taking him seriously. I think he can switch alot between "I need to prove that I'm just as good as Mind, I'll show them." and "they're right, I'm violent and impulsive and I'm ruining our chances of becoming Whole.". as you'd expect- his mood swings are wild.

• he is Inherently violent and impulsive. nothing is premeditated- if he's angry, he'll act on it. he'll say and do whatever he thinks will get him out of a situation or will make the other person listen.

• just the same as Mind- he is under the full impression that his opinions on how Whole should be are correct. And of course there is truth in that, emotions are a necessary part of existence, but just like Mind, he doesn't understand the need for his other half's part aswell.

• I think he very much wallows in his depression. he finds it difficult not to, but when he's bad- he's bad. he takes after Whole in that sense. he will be selfish and cruel and will isolate. he will spend all his time in his room and will be significantly more vile to Mind. he gets very caught up in his own emotions and depression, which just enhances it. (that is until things start being better and they're on their way to concord ofc, they all start helping eachother and themselves again) (this sounds mean I promise I love him, sadly I love projecting onto him more)

• there's alot of negatives here for him being my favourite character but trust me he can be good too. He's excellent at comfort, he knows just how to make someone feel better when they need it. He's empathetic, he can read people's emotions with ease and because of this-is able to understand them. Every fight with Mind- he feels his anger and frustration just as much as his own, he knows Mind gets just as riled up as him when tipped over the edge. The same goes with Soul, he can feel Soul's anger like a looming threat when their fights escalate too far. He can feel Soul's guilt and and how he relishes in the control despite it. That is to say- Heart can be kind and caring too, when it counts. he's the love AND the hate; it just so happens that he's got ALOTT of things to be mad about in his life </3

Mind

• Mind is astronomically emotionally repressed, it is a problem. he views emotions as something that holds him and everyone back from rational thinking and being at their optimal performance levels. he doesn't allow himself to get caught up in emotions (this of course is a lie, and excludes his petty outbursts at Heart, those don't count).

• ^ so much to the point that he 'removes himself of everything humane and emotional' by replacing himself with mechanical parts. no I don't think that's canon but I love this headcanon and I will die on this hill.

• though he would deny it: he is very petty, and does enjoy provoking Heart whenever given the chance. (which of course Heart does aswell)

• he is a 'control freak' to his core. though it comes off as tyrannical, he truly does think he knows what's best for the Whole, and that's why he's so adamant on being the ruler. logic is straightforward, logic can be easily worked through and used to make optimal decisions, thinking clearly avoids all possible bad situations. logic is his mainstay, his rock. (If he were to let in the flood of repressed emotion, he wouldn't be able to handle it all, and would lose hold of his mainstay whilst desperately trying to stay grasped onto it. he would be scared and lost in it all without a way back up.)

• he hides behind his apathetic facade but he *does* feel and he *does* get angry and upset and scared- and he hates himself for it. he can't be seen as vulnerable, as weak. I don't think he even knows *how* to deal with emotions either. he's spent so much time shoving them down that when they finally all come back up, he genuinly doesn't know what to do, he panics, unable to use logic in a situation like this.

• he is stubborn as all hell.

• he is Whole's ego. he doesn't think he's ever good enough and yet pretends he's the best; he believes he's the best too- contradictory I know, they're all hypocrites /lh.

• despite all these sympathisable things, he *is* cold and he *is* cruel at times. just like Heart, he has his reasons, but that doesn't make his actions justified. (make up already you guys suck!!!!)

Soul

• sigghhh identity issues x1000; he doesn't know who he is or what he's meant to be. he isn't a real person, and what's worse, he isn't *Whole*.

• I think so much of his character is based around Whole rather than him being much of his own person. his identity is a mimicry of Whole, botched together to make the imperfect Self, always wrong, never perfect enough. he has spent his whole existence working towards becoming someone else that he's never once thought to make an identity of his own- it's all for Whole, he would be nothing without him.

• he does not want to have to hurt the other two but in the end, that's all they'll listen to. he mimics power and control. he doesn't want to hurt them- but what else does he have if not power over these two? he has no control over the loops, no power against Whole, he can't do anything to stop this in the grand scheme, so he exerts control in the only way he can. he (tries to) keeps them in line. there is a large amount of guilt around that though.

• he's actually a very guilty person in general, his existence is merely the happenstance of dissonance; he and the others are born from it. he is the hubris of his Whole's misery- how could he not feel guilty about his every motion and thought, his existence itself is made from anguish {his Whole's anguish}.

• he yearns for non-existence and existence simultaneously; he contradicts himself. he wants to be Whole, but at the same time he wants to co-exist with him, happily.

• overall he is tired, he is very very tired. he doesn't have much left in him and he'll do whatever is necessary to just make it *stop* at this point. I think even after cacophony ends and the fighting finally stops, he's still on edge. he flinches at every little sound and raised voice. he wakes up in the middle of the night thinking he heard the other two arguing again, he has nightmares. he's very paranoid at all times.

• during cacophony I feel like Heart and Mind are defintely dehumanised by him. whether subconsciously or not. they become the ids, rather than his fellow thirds. they're a problem he needs to fix, parasites he needs to be rid of. he wants to get along and trust them, truly, but he never can.

• touch starved. this needs no elaboration.

• he worships Whole, devotes himself to him. he thinks of him like a god, something holy and perfect and completely out of his reach. his whole identity and existence is built around becoming him, this places Whole as the epitome of perfection. he wishes he was able to be close to Whole, to know him- but that's impossible, and he thinks if he ever even got the chance to brush their hands together his body would explode at the heat of his divine touch. yeah listen to this freak, please be normal for once in your life Soul.

Whole

(disclaimer: this is the character Whole and is in no way how I view CJ!! they are completely seperate thank yew) -

• my entire perception of Whole is mismatched ideas I've collected from mutuals but a large portion of his personality is from 'live the dream'. so, just picture that version of Whole mixed in with the weird codependent god relationship with Soul and that's my Whole 👍

• he is selfish and hypocritical at his core, he's almost as guilt-ridden as his Soul.

• he knows he does bad things, to himself and others. he hates it, he regrets it, he feels guilty for it- but he will always come back and do it again.

• he lacks barely any form of self love- of course this is going to make it difficult for him to sympathise and love his little blots- *parts of himself*.

• he is (of course) suicidal, alot of his (self proclaimed) 'selfishness' stems from this; he can't help it but its true. he's spent so long only looking out for himself, in isolation, believing that everything he does is pointless- his actions are gonna be selfish, whether he likes it or not. hence- the loop; he continues to repeat it.

• he is a chronic liar, he lies to himself, he lies to HMS, he lies to his friends. sometimes harmlessly, sometimes Very Much Not. there are times he's sworn he won't restart the loop and believed it, but of course that never lasted very long.

• he's not good at maintaining relationships- with anyone. this is why he struggles so much with Soul's unwavering devotion to him. not only does he feel like he's not putting into their relationship as much as Soul is, but he also lives in constant fear that *it will end eventually*. Soul will realise what a bad person he is and abandon him, or he'll fuck something up on his own.

• Whole has religious trauma (two wuv), and because of this he is very uncomfortable with Soul's worshipping of him.

• despite this, he still leans into it; no one's ever adored him this fervently, without hesitation, he can't help but enjoy it at least a little. both him and Soul are touch starved as hell so, it's *alot*. It's easier when they're in the loops, when he's separated from them all, from their resentment and their love. he doesn't think he deserves anything but what he thinks of himself. so Soul's unwavering love and devotion throws him off, but who would he be to refuse such a scarce thing in his life?

The Juno Incident

• ok!! I like lot's of different interpretations of the Juno incident honestly, though the ones that align best with what I think happened are these:

• Heart missed, literally. his bullet did not hit Mind. I believe he had low vision (just like me fr!!) before being blinded fully after TJI and this of course made aiming difficult.

• ALTERNATIVELY, he *did* shoot Mind, and the bullet *did* hit. Whether that was in the throat or some other place idrk, it fluctuates.

• In both instances, I think it went like this: after Heart's shot, Mind was shocked, he was scared, ESPECIALLY if the bullet did actually hit. I think in that moment, he did not have his logic to rely on, emotion- shock, fear, betrayal, anger- all of it, took over. he probably couldn't move for a few *very long, agonising* minutes, he was shaking, he was trying to organise his thoughts to best approach the situation and *couldn't*. his smug demeanour was finally broken down and in that moment he was truly *weak* (which he resents both himself and Heart for every day).

• meanwhile Heart very quickly flips from seething hatred and anger to regret, he's a sobbing mess. he's also scared- partly for Mind (if the bullet hit), but mainly for himself, mainly of *Soul* and what the consequences will be. he starts hysterically apologising, not to anyone in particular, just whoever will listen. he immediately goes into defence mode- victim mode.

• when Soul gets to the scene it's a mix of emotions. he's mad, mostly, but also feels betrayed- this is going to impact Whole, this is a setback we can't come back from, how could they do this? but of course the first thing he has to do is help, mediate, punish- as always.

• when it comes to whether or not Soul blinded Heart, I'm not sure. I enjoy the interpretations where he does, but also the ones that don't. but I firmly believe that it was majorly Heart's doing (self inflicted whilst in Apathy which I'll elaborate more on soon).

• Soul still punishes Heart obviously. after realising that Heart isn't the one that's been hurt here, and is crying crocodile tears, he quickly makes his way to Mind, who is still trying to regain his composure. Heart is obviously still screaming and wailing, and Soul now has the full picture of what happened, he tears into Heart. he yells at him about how he's betrayed them, betrayed Whole, how he's broken everything. Heart just defends and defends, cries and cries, he doesn't want to face the consequences. Soul eventually sends him to Apathy, where he can't wreck anything else (except himself). This was maybe the first time they were all equally afraid of eachother. (It will happen again, and again, of course)

• after dealing with Heart, Soul tends to Mind, who is *very* averse to being looked after (he doesn't need his pity). But he is obviously Very Fucked Up and accepts the care anyway. cue weeks of recovery and PTSD.

Apathy

• Apathy is somewhere in headspace that no one knows how to get to, they just end up there when that is where they need to go. It's a long walk, or a short one; no one really knows when you end up underground, you just do.

• I picture it as something of a cave system but instead of rocks, it's made up of decay. It smells like dirt and rotting flesh, the walls squirm as if they were alive, the floors are covered in rotting vine-like things that crawl around you and pull you deeper into the pit. Its dark and agonising.

• Heart relies heavily on sound and touch, this place is a sensory nightmare for him to say the least. he can barely see, Apathy is unable to harbour sound, and everything around him makes him want to throw up.

• eventually his own actions, with the additional side effects of being somewhere so horrific all alone for so long- causes Heart to scratch out his eyes. I hc him as someone very prone to scratching and skin picking- it got a bit much here to say the least and that got taken out on his eyes.

• I imagine he was down there for at least a few weeks. at the max a little over a month. Soul is the one to come get him, Mind does not want to face him.

The Loop

• Whole purposefully restarts the loop. for quite awhile I stuck with the idea that the loop restarts itself, like when they start fighting again- as the cycle of depression does. and while I still believe that- I like Whole restarting it on purpose more :]. It gives not only the plot, but all of the characters so much more depth in my opinion. there's resentment, there's guilt, there's it's effects on relationships and relationships with oneself. It's just overall so horribly good.

• I mainly like the way things happen in 'live the dream'. as in: Whole gets tired of Being A Person, he doesn't want to exist anymore- so he sits down at his piano and begins his song to restart the loop; the loop that brings him to the peaceful realm of unconsciousness whilst his thirds go through hell once again. and when they finally reach concord, he's brought back to reality. and it repeats itself.

• regarding memories: Soul remembers the most, which isn't saying much but yk. his memories of the loop mainly consist of the main events (split, fighting, Juno incident, any other significant things). his memories aren't clear enough to ever prevent any of this though, he just has to live with the fact that he knows something bad is going to happen, and he can't do anything to stop it. even if he did manage to, the loop would find a way to make it happen anyway. (for example: he calms Heart down before he manages to shoot Mind. Soul thinks all is well but later that night he hears muffled yelling from one of the blots' rooms, he's annoyed for a moment- just another fight- until he hears a gunshot. It happened anyway, his efforts were fruitless.)

• Soul is aware they've been through many many loops. he doesn't know how many, but he knows they've been here for A Very Long Time. he's tired.

• Heart and Mind are..somewhat aware of the loop? I think during calamity and closer to concord they're able to remember better, but in the midst of cacophony, they might as well know nothing. the battle for control and constant warring prevents them from remembering they've been here before- and will be once more. It all feels familiar, they write it off as deja vu. alot of things happen because of their 'instincts', for example: Heart's first thought during The Fight with Mind is to grab the gun; he's never shot anyone before, so why'd the thought come up? well it's obviously the most efficient choice of action- it'll certainly get Mind to shut up and listen to you. <- and so the cycle repeats itself.

• on how many loops there have been. I think it comes and goes like the cycle of depression (obviously). I think they each last for a few months up to a year at a time, and concord lasts for roughly a few months aswell. however many of those fit into the time that Whole has been alive and struggling with depression is how many loops there have been.

done!! holy shit that's alot, over 3k to be exact. these ideas will probably change and fluctuate over time but it was nice to get it all down for now :] feel free to send me asks about my headcanons of these weird little bugs, I love them :33 !!!

[ruegarding]

for context, @rosabell14 is referring to tags on this post.

ok we're going off-road w this one

generally speaking, i like the concept of "some things aren't meant to be controlled," which annabeth says to percy after he controls the poison. this is said and then immediately forgotten abt, however, this could be another angle of change, a reoccurring theme in hoo, as well as a continued theme from pjo.

obviously, from pjo, the change is addressed w the myths, the theme of yielding, and w the conclusion of the story:

hoo continues this concept of change w the percy-jason switch, the greek-roman conflict, the idea of what an identity is and how to change it, etc. there's a lot of individual character work w this idea, but there's less of a mythological concept attached to it. gaea is a static and flatly written antagonist, octavian becomes incredibly flat as a character and his development into this sort of fanatical antagonist that is never explored, there's a lot of teeth-gritting abt how the gods are gods and they never change and everyone just has to accept it, the myths aren't challenged in the same way they were in pjo, etc. there's a few major exceptions, i'll get to that.

this is a glaring issue i have w hoo. it wouldn't be as bad as a standalone, but hoo makes the entirety of the previous series meaningless. in tlo, percy asks for kids to get claimed and be trained so when (or if) they have to go on dangerous quests/fight monsters/etc they're both older and more experienced. this is the conclusion to the war and how the status quo is changed (disability accommodations expanded to reach more ppl and work more effectively).

hoo, however, does not do this. camp jupiter infamously has a child army while the adults are retired, all of the new characters are younger than percy (who is still 16), and only two of them have spent a long period of time training, although hazel's isn't formal/in a camp (and piper doesn't even learn how to fight until book four ffs). this sort of immediately bastardizes pjo in a way that is never acknowledge by the series and makes it, and anything after it, a failure as a continuation of pjo.

and that's where this theme could've come in. when bob is remembering who he is, him and percy have this back-and-forth abt identity. percy relates to bob bc he, too, just had his memory erased and that vulnerability exploited (annabeth's perspective in this conversation is very different bc she doesn't have this same experience nor does she understand percy's feelings abt it. a good way to build tension using different povs, but, once again, doesn't get fully utilized). in the conclusion that conversation, there's an interesting moment:

this is that idea again, "some things aren't meant to be controlled," like fate, like identity. titans are meant to "be the same...forever." and here percy is, not only as the catalyst for change by throwing bob into the river lethe, but also by encouraging him to commit to this change once bob should know better. this was percy's role in the previous series, as well, where he constantly challenges the perspective of other characters to be more quote human unquote.

afterwards, annabeth has a similar moment w damasen:

i also think these are very funny to have side-by-side, just as character analysis, bc percy is very much both insecure and empathetic like u can choose ur future, it's up to u, etc, whereas annabeth is like i am right, listen to me.

anyway, both of these moments repeat the idea from pjo/tlo: immortals can't change. but they are changing. and they will change. the rules of the world are malleable (i also think hazel's monologue abt seeing the minotaur as a victim would be another aspect of this to explore). what abt traditions? what abt camp jupiter's child army? how should these change? going back to the og thought, tho, what shouldn't change? what are the "some things" that aren't meant to be controlled? how do you balance traditions and reform (great opportunity to use octavian btw!)? why can't a god be human, act human? why are the ancient rules important? that's an important discussion to have if we're growing this universe.

i don't particularly like that hoo immediately reverts back w the premise of the story, like i was talking abt earlier, nor do i think these characters were introduced or used well in canon, but using these characters, these moments, these conversations, rick could've salvaged this mess by embracing change isn't a static thing. he doesn't, tho, so it's all lost potential.

separately, something i've always liked abt the akhlys fight is that percy wins the literal, physical fight against her, but loses the metaphorical fight. he gets to walk away, but he walks away miserable. and this is bc the gods aren't ppl, they're physical representations of concepts. and percy has this thought abt tartarus and gaea while in tartarus, and i believe it's brought up in boo, but it's barely relevant. it's something i wish was explored more.

now onto specific characters. i talk abt my general idea here, ie this moment in tartarus is forcing percy and annabeth to confront their worst-case scenarios.

for annabeth, i've repeatedly gone on record to say i hate the way annabeth is written in hoo, here is an example, ie her fatal flaw does not come thru in her character (i also think she and percy switched characterizations from pjo to hoo, but...). separate issue is that annabeth's character revolves around percy a lot. so there are two issues i would focus on, largely bc she's not written well and doesn't have established unique conflicts. like,

this is a big revelation at the end of hoh, that she has to "step back" and she can't "protect everyone she love[s]." except it doesn't make any sense. tlo ended w annabeth telling percy to give luke her knife which luke uses to kill himself. not to mention, thalia's sacrifice on hbh. ALSO. percy accepting the prophecy and "taking the brunt of the danger"! and finally. annabeth has been at camp for 7-8 years. 1) she should have relationships w these ppl and 2) she should care that some of the ogs died in the previous war (which would also require rick to figure out who died lol). but the point is, this isn't a new conflict for annabeth!

the thought she had in moa abt having to accept she's not always the best person for the job:

this is not built up nor is it delivered on, but would be interesting, given that she demanded to be on the quest and if there was an actual power struggle instead of writing her as the de facto leader. this would be a better conflict than accepting that "she couldn't protect everyone she loved" when she has historically not been able to protect everyone she loved.

anyway, back on topic.

first, this moment exists to challenge her perception of percy, which is important to challenge bc she quite frankly has an unhealthy attachment to him. other ppl have said this better than i, so here's a post abt codependency and p*rcabeth and here's another one i rbed a while ago.

tldr; rick treats annabeth's abandonment issues/possessiveness/codependency as like. cute, peak romance. and he's been doing this since pjo, right, like annabeth's abandonment issues and possessiveness didn't matter when it was thalia joining the hunters,—bc there's no romance trope here w thalia—but gods forbid percy speak to rachel.

and this doesn't change in hoo. in fact, it's worse. like,

i'm going to [statement redacted] rick for this. what part of this is cute??? i'm killing it with fire.

so anyway, i want to treat annabeth's possessiveness/etc as an actual, consistent, character flaw, that she can grow out of, even. maybe even connect it to her hubris or her rsd. explore her feelings abt luke now that we have her pov to do it in. the fallout from this moment w akhlys is a great way to begin delving into that bc it's a shocking moment for her.

second, and going back to the theme of change, annabeth is different from percy in the sense that she has a different relationship to the gods than him (which i'm comparing bc i think rick (and fandom) has a hard time giving these two consistent and separate personalities/beliefs post pjo). the two times she has rebelled against the gods directly were bc of percy's influence (again, this is percy's role in pjo), 1) in the zoo truck, a scene that only takes place bc percy challenged her view of the poseidon-athena rivalry and their place in it, and 2) w hera where the first words out of annabeth's mouth are literally "percy is right."

i find this interesting especially bc her fatal flaw is hubris, which is common in mythology and frequently ends up fatal bc ppl challenge the gods. so, annabeth using the gods and these stories to keep her hubris in check makes complete sense.

and it seems like this is the same approach she's using w percy:

percy is directly challenging a god for power, and more than that, he's challenging a domain he's not supposed to have control of at all.

very interesting! does not get explored. such is common for hoo.

for percy, this scene is part of a long-running conversation of his powers (which is a huge part of his disability coding!!!!!). and it doesn't go anywhere.

percy has established anger issues and implied emotional dysregulation. this has been a thing since the beginning, literally chapter one of tlt! punishing percy for this when he's clearly not getting the support he needs is. a choice. also there's the issue that hoo kinda. erases this aspect of percy's character until the confrontation w akhlys, which is a separate but related issue.

there really should've been more buildup to this outburst (eg: in son percy punches a shelf in the library and immediately feels guilty bc he scares frank and hazel. percy is in an incredibly stressful situation; this should've happened more), but that would mean rick would treat it and the disability conversation seriously (which falls flat after son) and do less teeth-gritting abt the whole gods thing.

so, to go back on my "using the different povs to build tension was wildly underutilized" train, a featured part of almost everyone's pov is that percy is very kind, and gentle, and forgiving. i discuss a moment w frank being impressed w percy's selflessness here and he also says that he would follow percy anywhere, jason says percy is "a nice guy" after like 2 days, nico has his whole thing, hazel says "percy was a child of poseidon’s better nature," going on to describe him as gentle, etc.

and all of this praise goes nowhere and kinda just becomes percy is so awesome...and then turns into everything is percy's fault in boo...it's bad writing.

but it's an interesting opportunity to play w perspective. percy in pjo is dehumanized in that he is both villainized and idolized, and obviously hoo is continuing the trend w idolization. rick sets up a great plotline w this in moa:

and this doesn't go anywhere bc apparently percy's problem is that he needs to learn to step back. which. part of this is bc rick recycled plotlines from percy and gave them to other characters, which means that percy cannot be in character anymore without making themlook bad (the recycled plotlines i'm talking abt are the idolization, imposter syndrome, wanting to step back but constantly pushed into the spotlight, being seen as different/elevated status bc of ur parentage, struggling to connect to who your parent is, even the dehumanization as a weapon is straight out of percy's writing in pjo). this is a big problem w hoo in general ie characters becoming ooc by necessity (see: bad writing). the other part to blame is that rick is literally trying to redo tlo what w the whole "you are not the hero." it's all the same from pjo except written worse. it's a running theme of hoo (and a bonus). bad writing all the way down!

ANYWAY. so pjo ends w percy at an elevated status bc he 1) survived an unsurvivable prophecy, 2) was offered godhood, and 3) turned down godhood to improve the lives of the demigods while all the demigods watched. and he has the curse of achilles but. we all know how that went. the point is, all of this puts percy on a pedestal. i like to think it's the biggest reason hera kidnapped percy: if he said no, if he refused, she would've lost the support of almost all the demigods at chb (also the metaphor for the audience lol). i think making percy go on the quest, or at least to new rome, is the only good bit of world building rick did between books.

the problem is, rick is kinda all over the place w how percy is perceived and misses both the point of percy's character (callback to what i said abt his disability) and the world building of the previous series (what happened to power-scaling, narrative consequence, etc fr). that's what creates the flip-flopping "percy is perfect" and "everything is percy's fault," and neither are particularly good reads.

going back to annabeth, i don't think she's an exception in idolizing percy. she has no reason to see percy's vindictive side bc he works hard to hide it. even w crusty, annabeth is preoccupied. annabeth is smart, she's not omniscient. instead, there's the famous "percy is too nice" from som. i also like to think this is why she keeps trying to talk to percy abt luke as if luke is a good person who didn't try to kill percy. she doesn't understand that percy would hate luke for betraying him bc why would he? percy is a good person.

(for the record, i think the exceptions are: 1) grover, who chooses not to bring it up w the exception of his nemesis comment in tlt, 2) rachel, who made a painting where percy's "expression in the picture was fierce—disturbing, even—so it was hard to tell if I was the good guy or the bad guy" and simply said that's how he looked, and 3) arguably nico—considering percy has attacked him before—but i do think "very [dangerous]. to his enemies." does a good job of capturing that, it just doesn't go anywhere).

so, to condense all of this, ppl are idolizing percy in terms of both strength and morals and percy feels stifled by this knowing that he is not as strong or good as ppl think (and also by the fault that he was demonized prior and has corresponding low self-esteem bc of that lol). keep this in mind, i'm changing the topic.

in botl, percy's torture scene is used primarily to set up how powerful he is. he can cause an eruption that necessitates the evacuation of thousands of ppl and wake the biggest threat in greek mythos, but he would never know that if he wasn't back into a corner. bc that's not who he is. he shies away from power and titles. he wins his fights w strategy and very rarely relies on his powers to overpower his opponents.

just to clarify, i categorize percy's powers in two sorts of ways: involuntary and voluntary. involuntary is like speaking to sea creatures, healing in water, things that don't require a lot of energy/effort/focus. he's not scared of this. he's wary of the voluntary, powerful explosions, the things that set him apart from his peers. that's what i'm referring to in this section.

so, percy has to come to terms w the fact that he 1) blew up a mountain, 2) survived blowing up a mountain, and 3) woke typhon. and what does he say immediately after that?

he immediately deflects! he wasn't in control, it wasn't him that's powerful, it was an accident, and besides, he can't do it again bc he almost died. and what's even more interesting is the only time he uses his powers after this (in botl) is when grover asks him to stop the fire in the woods.

so, what lesson did percy actually take from mt saint helens? that he's dangerous. very interesting to use this teaching moment and have the protagonist come to the quote wrong unquote conclusion.

in hoh, we don't have a purpose for the torture scene. there's no significance to confronting how powerful percy is. percy is not addressing his self-sacrificing tendencies nor his propensity for bottling his emotions up. there's no questioning of p*rcabeth's relationship. there's no questioning of the gods. it's a cool scene w no narrative purpose.

so, take two. what is percy supposed to be learning from akhlys? how do we relate this to percy taking the wrong lesson from mt st helens?

at the end of botl, nico comes up w the river styx plan and percy takes almost a full year to agree to it. how much further ahead in the war would they have been if percy had accepted the curse sooner? how many fights could percy have won faster if he used his powers? if he trained his powers? if he trusted his powers?

there's a really interesting comparison w phorcys and akhyls where percy doesn't attempt to fight phorcys bc he assumes he won't be able to overpower him,

but w akhyls he tries anyway,

bc he's backed against a corner. and he succeeds.

percy is a character who very much embodies duality. i've talked abt this before wrt his loyalty being both his greatest strength and greatest weakness and how it clashes w his desire for freedom, but it's true for almost every trait. he's honest and manipulative. he's ruthless and merciful. he's kind and violent. he's looked up to and looked down upon. he's the saint and the scapegoat. etc etc. and percy responds to this by frequently trying to deny his quote worse unquote traits until they eventually bubble up and explode out of him. this is part of why juno calls him a loose-canon (which btw, i love. everyone has been treating him as a loose canon and no one on this side has the balls to say it until then, seven books in).

all this to say, *ethan voice* it's abt balance! this moment should've been abt percy confronting his unfair treatment! the idolization from his peers! the demonization of his flaws/disability!

thanks for coming to my tedtalk.

[gamingblur103s]

my thoughts on neo the world ends with you

long but probably not very good to read. spoilers and allat

i have to admit that i have a knee-jerk resentment towards a lot of the twewy franchise outside of the original game. every port and remake and reimagining of the original is simply worse off because something fundamental about what made the original experience so fantastic is removed. granted, this is often out of necessity for it no longer being a DS game, and from a business perspective, something like the anime adaptation only makes sense when a sequel is coming out practically immediately after the anime ends. still, in regards to these rereleases, i can easily see them as things that only add to the franchise rather than remove from them. the mobile port, despite screwing with the art style and the gameplay, added new music that is on par with the original game's score. the anime adaptation, despite its truncation, occasional mischaracterization, and format the story was not made for, looks pretty great and is still fun enough to be an effective recap, which was its precise purpose. it is much harder to say the same for final remix.

final remix is a port of a port; it maintains the streamlined and exponentially less engaging gameplay of the mobile version. granted, it comes with new pins which work well enough with this new base, but that doesn't change the problems i have with these fundamentals. to make up for that (as well as bridge the gap between it and neo), final remix comes with "a new day": a continuation of the story that is necessary to experience in order to understand neo.

to be blunt, a new day is where my previously mentioned resentment began. the story it tries to tell is so emphatic on its mystery that it foregoes any actual depth. as something that is expressly being tacked onto the original story rather than its own entity, its poor quality leads to directly detracting from that story.

the reaper's game (for og twewy at least) was meant to act as a symbolic prison for neku that colored every bit of his progress. yes, his character development is fairly blatant, but if anything, it benefits from that. the framing of the reaper's game actually makes the arc more grounded in how arduous it is, in how it was so much longer than neku could have ever expected, in how it hurt in all the ways he was scared it would.

it's all perfectly embodied by the fact neku is still wearing his headphones when the original game ends on the sublime emotional note of him taking them off. it's careless storytelling, to such an extent that it colors everything that came before it as the last canonical events we get to see, made all the worse by how it (and consequently, the game) ends with Neku dying. again. the only thing that keeps me from being completely outraged at the comical disregard of his arc is that it at least doesn't take away his emotional development.

there's also the iffy characterization overall, once again to serve a mystery the plot cannot afford to answer the larger reaching implications of. mind you, there's nothing outright OFFENSIVE about its portrayals (i actually think fake joshua is the best example of characterization in the whole thing; it's fun to show what a character is by what they aren't), but it's all just so vapid. forgive me for being smarmy enough to use an antimetabole, but when you go through a whole-ass video game that has its plot function in service to its characters, playing such a blatant sequel-bait that has its characters serving the IDEA of a plot feels like a disservice to those characters. if there's a connection to be felt, it's not indicated or made stronger by what happens here; it's all for the sake of hype.

i'm rambling, but hopefully that embodies my emotions going into neo comprehensively enough. i couldn't help but see a new day as utterly counterintuitive, and as a result, i had my typical territorial nature for my favorite things cranked up to twelve. i couldn't even fully trust the original staff with this game. for a while, i couldn't shake the feeling that the franchise of twewy outside the original game tarnished my experience with it. i did everything i could to convince myself to go full "death of the author": everything that isn't the original game simply isn't canon. but that didn't feel right to me, so i still kept this deep curiosity in me. then, about two and a half years after its release, i started up neo and spent my winter break exclusively on playing it through to the end (college made it so if i didn't finish it then, i'd have to wait till the summer).

this FINALLY leads me to my thoughts on the game this post is supposed to be about.

in a word, neo feels derivative. mind you, that's by no means the full story. for certain aspects, that description is either deeply unfair or outright untrue; for others, it's frankly generous. holistically, however, it feels like a continuation of what twewy had to offer, when it could've been an evolution. this by itself would make it worse than the original, but then there are times where it can't even accomplish that much.

on that note: the presentation.

og twewy didn't just have a fantastic style, but phenomenal direction. it was a multi-pronged refutation of the idea of "style over substance". the pause menu alone is so informative, yet so digestible because of its adherence to the game's style, what with its inspired choice of music and cute lil thumbnails for all the menus you can navigate to from there. there's also accounting for what players will most often check the menu for and an effort to make such features particularly accessible. the shining examples of this are dedicating nearly all of the top screen to the map and the fact that all the combat options aside from the pins (your level, partner behavior, game difficulty) are available on that screen, rather than hidden in another menu. hell, credit where it's due, the rereleases' version of this menu are all just as good; the attempt to depixelize the visuals makes it look a little too much like a gacha game for my liking, but absolutely nothing about it was changed in such a way that it becomes harder to navigate

in general, i think ui/ux design is way more important in games than it's given credit for, though that's undoubtedly changed in recent times. it's always been listed as a separate career from other graphic design jobs, and rightfully so, but for games especially, it can't be stressed enough how much they make or break a game's flow and "vibe". fact of the matter is, a significant chunk of a player's time is going to be spent in menus no matter what. i'm sure there's exceptions to this, but all i can think of is very primitive examples like pong which obviously don't apply to what i mean. as a result, making those menus feel fun and/or natural to use elevates the entire experience in ways even the most diligent game developers might not realize. an article from gamesradar has a translated quote from persona 5 director katsura hashino which really emboldened my feelings on the topic

"In Japan, UI design is often handled by new employees. ... Top level designers are usually in charge of characters and background graphics, with the UI being secondary. I think that’s a mistake. That’s why Atlus' UI designers are paid so well."

(side note: as great as the menus in p3r mostly are, the change for the in-battle menu from the revolver chamber is criminal. i know they still kinda have it, but i still prefer what the original did)

with all that said: neo twewy has three pause menus.

the first menu, which i will call the main menu, is where most of the options that relate to gameplay are. your current objective, social network (no jesse eisenberg in sight), equipment, map, and collectible progress. each of those five things i mentioned are their own menu within this menu, except for equipment which is actually two menus in threads and pins (to be fair, just like twewy).

the second menu, which i’ll call the pause menu, has all the shit that give off system setting vibes. saving, loading, going to the title screen, volume control, subtitles (always yes), voice track (we’ll get to that), the works. worth noting that this menu has absolutely no style to it. it is laughably barebones. sauceless, if you will.

the third menu, which i’ll call the combat menu, has all the combat options twewy had at the bottom of its main menu. this menu is also pretty lacking in sauce, though i suppose there’s only so much that could be done without it feeling obtrusive.

an insane person would argue this is a good translation of the immediate access in twewy’s ui. this division means less navigation is needed for certain option and it makes clutter a non-issue (in theory). while i’m sure this is true for some, for me, it became a consistent headache which would often undermine what i think are its design goals. the main menu’s subdivisions are a good example, but i actually didn’t have too much of a problem with it since switching between the menus was fairly snappy. the pin menu, however, was COMICALLY clunky. it becomes far too difficult to navigate your list as soon as week 2 starts. neo is a home console game, so there is zero need for a single pin to take up THAT much space on the screen, especially when that same pin at a different level of progress is listed separately, effectively doubling the amount of shit you have to sift through. the attempts at giving me shortcuts and filters ended up only confusing me. by the end, i resorted to exclusively consulting the full list every time, because even if it was tedious as all hell, at least i understood it and could eventually memorize the positions of things.

granted, it’s not all bad. you can actually access the combat menu while you’re in the main menu, so you can experiment with your level and view the drop rates in the noisepedia simultaneously. this version of the map, while it takes extra steps to access, also has features twewy’s map did not, namely the ability to see the kinds of noises that spawn in an area. you can even zoom in and out! for some reason!

these undeniable improvements are not only things twewy did not have, but in some cases (i.e. the map's new features) couldn’t have. however, it’s still missing the forest for the trees; the fundamental flow is still so disjointed that these features feel like a bandage on a tumor. i fully concede this next complaint is at least partially on me, but i cannot tell you the number of times i pressed the button for the wrong menu. because each menu has important shit that i need frequent access to, my muscle memory for the “i need menu things” neurons are always confused. if i’m not wasting time by going to the wrong menu, i’m wasting time by hesitating on pressing any button in case i’m wrong.

i’m being cruel here to an extent, and i acknowledge that. in isolation, these problems aren’t even a fraction as damning as i make them out to be, but when it’s something repeatedly experienced throughout the entire game, i cannot ignore how i dread having to interact with these menus and how they color my experience. granted, you could argue these complaints refute my thesis statement on neo being derivative. it may have failed, but is this not neo trying something new? to that, i would make the distinction that this is not a case of neo evolving, but rather, simply adapting.

allow me to branch back out to the more general subject of the game’s presentation.

i am by absolutely no means going to be calling the presentation of neo bad. that might be shocking to hear after me going so hard on the ui of all things, but i'm not an idiot. the soundtrack is a delight ("the beginning of a happy life" is genuinely, no bullshit, honest to god one of my favorite vg songs i have ever heard), the visuals are never any worse than ok (fret's design is by FAR my favorite, but i also liked shoka, rindo (mainly just his mask continuing the theme of neku's "hear no evil" with "speak no evil"), and susukichi), and when the two combine, it consistently achieves a familiar vibe throughout.

VERY familiar.

again, the presentation of neo is not bad. i would go so far as to call it good overall. but i genuinely struggle to think of any way it substantially iterates on what twewy has to offer. from where i'm standing, it feels like a complete copy-paste (with one exception that i swear i will get to soon cuz this is now like my third time alluding to it).

it's a bit of a mainstream example, but when you look at something like final fantasy, there's a clear throughline in the presentation of pretty much the entire series. even at its most vibrant and cutesy, there's this particular breed of gothic or sci-fi or—and i truly do not mean this disparagingly—edgy you can feel in the foundation of a final fantasy game. conversely, even at its darkest, final fantasy has its own brand of whimsy and bombast in chocobos or summons or the bajillion leitmotifs throughout the franchise. through it all, final fantasy has maintained a strong fundamental identity, but has managed to express it in a myriad of ways that, rather than dilute said identity, only bolster and refine its spirit.

i use final fantasy specifically because of its similarities to twewy. granted, these similarities are largely surface-level, but that's also kinda my point. final fantasy as a franchise achieves the variety it does through acknowledging what is fundamental to it and innovating off of that. by contrast, twewy (the franchise, not the game) is afraid to change its spirit and seeks purely to preserve it. because of that, the only way you could really differentiate twewy (the game, not the franchise) and neo at a glance is because of the hardware they are on. acquiescing to the merciless march of time, rather than embracing it.

that's why i still think my complaints about the ui ultimately fall back on the critiques of neo being derivative. while the problems with the ui in isolation seem like the developers trying something new, when you look at neo holistically, it is so clearly just an attempt at merely adapting, and sometimes it feels like neo fails even on that level. it isn't even innovation by necessity; every change feels like a sacrifice more than anything.

and on that note: gameplay.

i would say i generally enjoyed playing neo. the overworld exploration is very bog-standard, but i still appreciate it. remind is cute (it and telewarp's mechanics are obviously scripted but successfully "feel" cool to use) and dive fights are cool. i didn't mind the lack of fast travel, and in fact ADORED beat's soundsurf. having it add to your groove makes so much sense it hurts, and i love what it does to the music. but all of this is kinda window dressing when compared to the combat.

i'm sure my utter obsession with rpg (especially traditional rpg) gameplay aids my love of neo's combat, but i think most people can appreciate the gameplay loop. assigning party members to specific buttons is an undeniably fun concept. the hyper-customization of the combat is also something to be admired (to an extent); i'm sure i'm not particularly special for this, but i adore any opportunity to play a game "my way". the pin list is a teensy bit bloated with repeated ideas but with a higher number and/or different and somewhat arbitrary "element", but i sincerely love it overall. with how diverse the ideas are, there's a shocking few that i would consider objectively worse than the others. for example, the strength of the game's combo system "groove" means that a pin having a lower power doesn't actually make it necessarily worse, since less damage per attack allows for longer combos, which allows for more liberal and consistent use of the special moves unlocked by reaching the 100%, 200%, and 300% thresholds. inversely, as a compulsive grinder, the game's progression felt fairly natural even when i was pretty blatantly overprepared. fights are incredibly busy, and the boss fights especially are designed so that a single mistake can become a slippery slope of punishment. i died fairly frequently, particularly from getting too big for my britches and taking on a reduction chain i just couldn't handle. thus, fights never felt thoughtless the whole way through, which i was frankly REALLY impressed by.

i would accredit each of these compliments (or a stronger version of them) to twewy (to the point where i'm strongly tempted to derail this whole thing into how much i fucking love twewy's gameplay), but to its credit, neo does take different ways to get there in a lot of cases. to be doubly fair, though, as i've previously stated, these different approaches feel like they needed to happen rather than resulting from a distinct and passionate vision. to be TRIPLY fair, though, what's here has so much polish and depth that there was clearly some kind of passion present. my mind made a strong connection to kingdom hearts; i am not a big kh fan, so that is either indicative of just how similar neo and kh are (that someone like me could point it out) or how ignorant i am to action rpgs (accusing neo of being similar when it's really not). i'm open to either option.

the hyper-customization also feels like a double-edged sword, in that there is virtually no difference in how each of the six party members play. making your party members distinct from a gameplay perspective is INCREDIBLY important, because it's such an effective tool of storytelling. for better or worse, how a character performs during gameplay will directly influence how a player will view that character holistically. if, either by pure luck or bad game design, a character underperforms, a player is inclined to view that character less fondly. while neo's method of little if any distinction seemingly circumvents this slight dice roll, it closes off a unique opportunity entirely and settles for something that feels a little bland. mind you, this doesn't change anything about what i liked about the game's customization and customization as a whole. i do believe, generally, that the more customization the better, but that can't be an excuse to homogenize the party members.

none of how the game handles levelling up and stats really helps this. yes, characters will have different tastes in terms of food (leading to potential bonuses on top of the stat increases that food already does), and some clothes will have secondary benefits exclusive to certain party members, but it's not nearly enough.

i'm tempted to say that the solution to this would be to find a better balance, and that is still true on a fundamental level, but i also don't think making party members distinct and customization are mutually exclusive, or even necessarily things that mitigate the capacity for the other. if you want to go as extreme as what neo attempts, then yes, a focus on customization will undermine uniqueness, but there's also ways to let them heighten the other. in twewy's case, the dynamism of neku's gameplay vs the static "gimmicks" of his partners spoke not only to the personalities of each character individually, but also of neku's relationship with those partners and with people as a whole. more contemporary and popular examples of this would be pokemon (especially nowadays with nature mints and streamlined ev training) and persona (especially 5 royal).

the latter of the examples i bring up is an interesting one to me: taking advantage of a protagonist who is a canonical blank-slate (not to say joker or any persona protag from 3 onward has no personality, just that they are wild cards) to let them fit whatever mold the player wants. it's a big indicator of what i mean when i say that customization and uniqueness can coexist, because in this case, they're two almost completely separate spheres that manage to function without overpowering the other. when they DO interact, such as with the intended evolution of the mc's personas or the customization allowed for non-mc party members, it only enhances what it touches.

i should stress, despite these critiques, that i think neo's gameplay is good. i had fun with it. there are aspects of it, such as its pin selection, that i found memorably impressive. but i want to stress why i stick so strongly by my thesis—that neo is derivative—even for its best aspects.

and on that note: the story.

let's get the big thing i've been alluding to out of the way: i ADORE neo's localization. i really, truly, sincerely think there wasn't a single time in the entire game where i felt some piece of dialogue was awkward, and that is not only a compliment for the localizers, but for the writers as well. don't get me wrong, i could sometimes notice that things were localized, but that realization never jarred me. rather, it made me that much more confident about what that piece of dialogue could tell me about the character saying it, the situation they're in, and/or their relationship(s) to whom they're talking to.

i won't act like it's absolutely perfect, of course. however, my complaints come from failures to achieve the goal of localization, rather than with the innate nature of the practice. for example, probably my biggest hang-up on it is that it undersells a lot of the sentiment when shiki and neku finally reunite, though the voice acting is partly responsible for that (likely moreso the voice direction rather than the actors themselves, but i can't say for sure).

back on the positives, i do find the english voice acting pretty good. miranda parkin as nagi is my personal highlight; her performance reminds me a LOT of erica lindbeck's futaba sakura, and you should absolutely look into her work on her youtube channel "ParkinArt" when you get the chance, because she is superbly talented. shoutouts also go to xander mobus as kubo (i struggle to think of a sleazier voice) and pretty much every returning va.

in general, i am pretty massively defensive of localization and localizers; whole lotta people who don't know shit spouting, well, shit. to be fair, i'm not much better, but at least i'm on the side of the people who do this shit for a living. and i'm also on the side which appreciates those people for the work they do, because i can't help but feel like it's really fuckin hard. you're not just translating the literal words, but finding ways to synthesize it to maintain the SPIRIT. This short video by "Jehtt" about the opening line of Sonic Adventure is an excellent example of what I'm talking about.

as for the content getting localized itself, final remix (and specifically a new day) made it clear that whatever sequel comes out, it's going to be some kind of direct continuation of what's been established, rather than a self-contained story in the same universe or something along those lines. personally, i would've preferred the latter if a twewy sequel HAD to exist, and to its credit, my favorite things about neo twewy's story tend to be the things which THEORETICALLY make it stand on its own. obviously, your enjoyment is enhanced if you play the first game, but there's enough in neo to make it possible for someone who doesn't to still understand it.

for example, new characters are fun, even if occasionally half-baked. i'll get the riff-raff out of the way: the shinjuku reapers felt like goofy personifications of gimmicks that served their purposes well enough, coco is a bit less annoying this time, tsumugi is hilariously half-baked after being hyped up as much as she was, hazuki... exists, and i struggled to see any of the other team leaders as more than an impetus for other characters (though i am DEEPLY grateful kanon isn't as bad as she could've been). speaking of which, how about those characters?

my favorites were nagi and fret; i see their concepts as a bit tropey, but executed well all the same. the ways their arcs intertwine were surprisingly compelling; nagi's dislike of fret wasn't just a weird gag, but an inevitability of fret's compulsion to put up a front and nagi's keen perception and hatred of "fake" people. once nagi learns why fret puts up this act as he makes an effort to move past that instinct, they start bonding almost immediately as she tells him more about her inner workings and that she'll take care not to be so judgmental thanks to his influence. the reveal that she got fret on elegant strategy after the events of the game made me smile way more than the game trying to get me to like rindo and shoka as a couple ever did.

on that note, i could take or leave rindo as a protagonist, and in general, my interest in the shinjuku reapers (especially shoka) waned as they became more significant. that's not BECAUSE of their significance, mind you, simply that they ended up disappointing me in one way or the other (with the possible exception of kaie who was just kind of a silly little guy). it comes back, yet again, to my thesis on this game failing to meaningfully iterate. i understand and agree that there's a lot of value in establishing parallels between characters, even if the plots of their stories are disconnected. i would go so far as to say it's ideal to make a sequel expand on the subtext of what's been established like that, as long as it and what's new bolster each other. in the case of rindo, i struggle to appreciate things about him that aren’t some extension of neku when he was a protagonist. i found his arc about making his own decisions sudden and a bit inexplicable, especially with how blatantly it was stated. felt like a case of saying a character was having a specific arc without actually giving them that arc.

as for shoka, i do like her more than rindo. in fact, it’s her relationship with him that made me lose interest; it felt like all the things that endeared me to her, like her relationships with the other shinjuku reapers and her brand of snark, got pushed to the side in favor of said relationship. it dominated everything else about her character in a way it felt like it just didn’t with rindo. granted, this could just be because he’s the protagonist, and her “snark” is a surface level reason to like her. however, i don’t find that first concession to be an adequate excuse, and it was precisely her personality that got me interested in the character to begin with, only for it to feel discarded (albeit probably not completely, i’m sure there’s a cute lil moment or two i’m forgetting). considering shoka’s love of gatto nero and shiki’s presence in the game, i imagine the parallels between the two have to be somewhat intentional, including with their relationships to their respective mc. like with rindo, these parallels make it hard for me to appreciate the character, but unlike rindo, shoka’s parallels seem to actively oust the things unique to her, as opposed to rindo’s leaving little opportunity for appreciable distinction to begin with. again, i ultimately prefer shoka, as tis better to have loved and lost than to have never loved at all.

that just leaves the three elephants in the room/party: all of them are returning characters. two of them are characters you played as in twewy.

i do want to make it clear that even at my most territorial, i don't think i was ever completely against the idea of there being returning characters; if anything, my ideal twewy sequel would actually feature characters like joshua or hanekoma more prevalently than they were here. rather, much like most things, it comes down to how you implement them, and neo does so in a way that pretty blatantly relies on them. even that isn’t a necessarily a bad thing, but remember what i said about this story attempting to stand on its own?

what shocks me about their sheer prevalence is that very little of it feels necessary. i don’t get the feeling that any of the og gang were needed to make this story work on a thematic level (as happy as a lot of their scenes together made me), and in fact, as i alluded to with rindo and shoka, it actually seems to impede or dampen a lot of what the game is trying to go for. i see it as perhaps the single most blatant example of my thesis statement. neo plays with the concept of a self-contained story, but is unable to let go of what's already there, innovate enough on the franchise and original game’s core, and pull through with something standalone, because it seems generally unwilling to embrace change, and consequently, key aspects of creativity and what makes a good sequel. i understand if others don’t share this opinion, but to me, it really feels like neo only changes when it has to, and that reflects in the changes it makes as well as the ones it doesn't.

and on that note: the conclusion.

sorry this feels so disparate. i definitely wouldn't call neo a bad game, and in fact, i think given some time, i can comfortably call it good. plus, i can, after some difficulty and deliberation, say it and even final remix's existence only add to og twewy. impulsive territorialism be damned, it makes me happy to see stories and characters i love be added on to like this. the aspects i consider bad, even if they might be fundamental, are not enough for me to avoid embracing and appreciating the good. my silly little headcanons are not “threatened” by things like final remix, even if it felt like they would be in the moment. it is still possible to imagine all my favorite characters living happily ever after with each other, even that cunt with the mop for hair joshua, and if anything, certain scenes in neo only add to those delusions. i may have complained about them, and i do stand by those complaints, but i cannot deny how much i love them in isolation. i think the only thing that could've made me hate them is mischaracterization, but the only instance of that which stuck out to me (neku and shiki reuniting) seems to be a translation issue, and the real sentiment of the scene aligns far more strongly with my views of the characters.

that said, i'm still definitely disappointed by it all. neo's derivative spirit felt very pervasive to me the whole way through, and by the end, i felt a strong urge to replay twewy. that's not a necessarily bad instinct to have after playing a sequel, because it's the idea of "wanting more". it is, however, bad in this case, because it was a mix of that and the idea of "wanting better". i wanted to play something where these good ideas were new, or better yet, something where the new ideas were good. as it stands, i'm left the slightest bit hollow; just enough to be noteworthy, but i still feel like a dick for bringing it up.

i'm happy i played this game. i may very well play it again in the future. there's aspects of it i like to the point of loving. and yet, i hesitate to say i like it.

my feelings on this game continue to be jumbled, even after all this. still, writing a lot of it out definitely helped, and it was really fun to make! thank you oh so very much for reading; i hope you enjoyed it!

oh, and i would rather rip my dick off than play scramble slam again-

[illdothehotvoice]

Gonna be real with you king, my biggest fandom related pet peeve is when people post deltarune in the undertale tag and vise versa fjsbcbsbxbsbbdf.

[makiswirl]

can i just say. and this is probably a niche hill to die on. that i am so gobsmacked every time someone vaguely hints at the idea that jotaro doesn't care meaningfully for the other crusaders, usually particularly kakyoin and joseph, when those two actually tend to be the ones he reacts to being hurt the hardest

like he cares for his loved ones!!!! that literally plays into his character motives in every single part he shows up in!!! stop lying to me!!!!!!!

[hadesknockedupintheunderworld]

The world if people stopped applying their understanding of "conservatism" and "religion/christianity" through a very modern, deeply American view onto Death Note (a manga from the Early-mid 2000s which is very much set in the cultural and societal context of early-mid 2000s Japan and all that entails):

[valzhangism]

i know i said i was happy about how mel's story went, but the more i think about it the less i'm sure about that. this is very much connected to how the themes of classism and wealth disappeared in s2, but mel in the beginning was the epitome of piltover. she wanted to advance piltover to prove herself to her mother. to "put piltover—" and by extension herself, "—on the map."

she wanted wealth just to have it. and i'm not blaming her for anything that happened, especially with hextech! she, just like jayce and viktor, could not have known what it would lead to. i mean yeah heimerdinger said so but who the hell listens to heimerdinger? but anyway i think mel changed throughout s1, much in thanks to jayce. by the end she's become more cognisant of the mistreatment of zaunites. she's the first to vote for their peace. she was a good person all along but now she knows how to act on it. it's also seen more in s2 act 1. when she covers her painting with gold, it's symbolic—she won't act according to what her mother might think. she won't let her desire for approval dictate her anymore.

so somehow i wish those themes were. continued, somehow? like again they were dropped not just with mel but the whole show and it makes her story a off to me. there's no meaningful commentary on war or classism or how her ideology stands opposite to her mother's. like some people have said, it feels like she doesn't have much agency, even if she is really cool. and that to me is a shame because agency felt like her thing. "to shape your own destiny" as she says to jayce in s1. i know her collaborating with the black rose (but not fully joining them) and learning magic is supposed to represent becoming independent from her mother, taking her own path, but some other aspects of her character were thrown away... the more i think about it the more i'm thinking they kind of #girlboss-ed her a little bit. maybe to sell another champion. i can't help but feel like even though i enjoyed seeing her on screen, the payoff didn't feel proportionally satisfying compared to her setup in s1.

[spasikonik]

an edek themed collage 🪲

[theokusgallery]

I hate that I have reoccurring themes in everything I make. YES this guy has a complex over the fact that everyone prefers his sibling AGAIN. YES he was ostracized by his peers since he was in primary school and never knew why until years later. URGH

[amelikos]

Gibeon and Amethio key frames.

[futurewife]

so we can have a bonkers w.olverine horny revival whenever but only 10 people at any time want to fuck c.able. ok maybe I have special eyes. jk where is his special moment

[koka-mi]

vent under the cut you don't need to read if you don't want to!!!!!!!

I honestly hateee opening up or oversharing with ppl. it's kind of like eating for me where it feels okay in the moment but then afterwards I just feel awful. it feels like I'm attention seeking or saying someone else's experience isn't valid for some reason and it sucks. I don't do it at all with ppl I just met but with friends I tend to get carried away with it sometimes,,,

It hurts even more because I've been distancing myself from ppl bcz I'm scared of this exact thing happening. People have messaged me before, saying I seem cool and they want to be friends. And I get happy in the moment, but then I get really anxious about accidentally getting too comfortable and blurting out personal things, because then their opinion of me will wane and they'll think I'm annoying or ungrateful. So I subconsciously begin to distance myself and take a while when responding to messages, because I'm scared of getting too comfortable with them. But now I'm anxious that they think I'm cold or distant and that I secretly don't like them. It's just a lose lose situation mannn </3

I have so many DMs I've put off responding to, and I've stopped talking in servers as much bcz I'm scared of getting close with ppl in them. I really feel bad for it, though. I've drifted from friends bcz of that and it sucks because I genuinely love them a lot. I love everyone I talk to a lot and they always make my day better--I just wish I could be the same for them. I feel like it's a chore to talk to me. I honestly don't know what to do. It's even worse when I get close to someone bcz they like what I make/post because again, now that they've seen how I really am and I've opened up, they more than likely see me as annoying or a bad person. Like it hurts enough whenever we become friends naturally talking, but if it's with someone who's seen me at my "best" and has seen things I work on or stories I've created, they ofc associate me with those things, and their expectations of me are through the roof. So when I disappoint them it hurts a lot more. I hate getting attached to people it hurts so much

[winchesterian]

that excerpt from wuthering heights is exactly how i see s/d. what dean feels for sam "resembles the eternal rocks beneath: a source of little visible delight, but necessary". it really doesn't matter whether or not they are happy with each other, that's beside the point. what's important is there's a deep love there which neither can truly live without.

[ginkovskij]

gin, we need your critical opinion about megalopolis. was it really that bad?

i mean.

is it unwatchable? no. but also it is not good for sure. would love for it to be a case of "so bad it circles back being somehow good", but unfortunately no, becasue in order to achieve such a thing coppola should have gone camp and embraced the style instead of taking himself too seriously.

there are. ideas. that considered by themselves sort of make sense if you are desperate to find sense in this insanity of a movie, but whether within or without context for the large part they remain disjointed. and are anyway very cringe at core. i don't know how to put it kindly but the script just sucks. and choices were made.