#in stars and time act five spoilers

[miraene13]

WHAT THE FUCK.

MIRA AND ODILE....

KING OF RUINING EVERYTHING GOOD IN YOUR LIFE HOLY SHIT

I KINDA DONT WANNA GO ON!!!! I KINDA JUST WANNA LEAVE IT HERE! DON'T DO BONNIE AND ISA! I CANT GO TALK TO LOOP THE GAME WON'T LET ME!! LOOP WILL DEFINITELY BREAK ME OUT OF THE SPIRAL THATS THEIR JOB BASICALLY!!!!! BUT DEAR FUCKING G O D IM SO

AUGAHAGHHHHHHHHHGHSSHHHHHHHHHHHAAAAGHHHHAUGHHHHHHH

IM GONNA EXPLODE!!!!!!

[maidfrin]

STOP! before you make an extreme decision or take drastic action of some kind, think about SIFFRIN

are you:

S - sick?

I - indignant?

F - fatigued?

F - famished?

R - resentful of anyone trying to help you, even loved ones?

I - in a state of distress?

N - needing a hug?

if you answered yes to one or more of the above, fix that and then get back to your big decision!

[meamiki]

vaguely based on a stream silly from the first stream. when my friend KEPT INTERRUPTING LOOP DIALOGUE.

vvv vague context clip below vvv

aaand. well. apologies for layers of links because 18+. if you are intrigued by that clip and want to watch the full streams there' s a link to the full vods channel in this linked post right here.

(there are 11 streams.... mainly because we did all the optional content except the ghosts event i think? because RNG)

i promise my audio quality gets better ASFSAFASFA

[scissorcraft]

mal du pays

[basilpaste]

hey gang. isaloops 'falling action'

i wont go too crazy with the explanation because there is a Fic that will cover it that i will (hopefully) write but uh!!

yknow whats neat? when a in world with magic healing you cant heal wounds if you wont let them be healed. so sometimes even if someone tries they stay. much to think about.

[cloud9v]

in stars and time but in that part of act 5 euphrasie gets yeeted out the window

[lovesickeros]

☆ i dream of embers

{☆} characters arlecchino {☆} notes no au, drabble, gender neutral reader {☆} warnings none {☆} word count 1.1k

The House of the Hearth is quiet — or, if you really wanted to be precise, the rats scuttling through the walls are working around the bubble you exist in. The children dare not tempt fates hand unless you asked for them by name, a contradiction. An order to the rules — they mustn't approach you with trivialities, but they must listen if you speak. Your words carry more weight than gold in this house, whether you know it or not.

A tenuous position.

You haven't done anything to earn their reverence, their almost acrid fear — but Arlecchino has. She wields her silver tongue with as much ease as her polearm, ensuring your care in her absence. Her devotion, her service, is felt in the warmth of her chambers, the silks she adorns you with, the bed so soft you feel as though you melt into it. A gift, a promise — a gilded cage need not be something undesirable.

You've grown used to the encumbrance of her presence, these days. The deep timbre of her voice, honeyed yet melting into something rougher, quieting into haunting silence as if she seeks not to disturb you. Dim candlelight is all that illuminates her broad frame as she slowly presses the door open and closed behind her, pallid skin streaked with darkening red, her bottom lip smeared with it like lipstick. There is a tension to her shoulders even when she sets aside her polearm, out of sight and out of mind, harsh lines on her face visible in the deep furrow of her thin brows.

Here, she let's the weariness settle deep into her bones — it's just the two of you, even if she hasn't acknowledged you at all. Still, it's a vulnerability she shows no other, even if that vulnerability is hidden behind layers of barbed wire and teeth.

You watch rather idly from the bed as she wets a cloth in a basin of water, the bed creaking beneath you as your feet sink into the plush rug beneath. You know from experience that trying to help her is like trying to soothe a wild dog, but your knuckles brush over the sharp line of her cheek anyway, free hand stealing the soaking cloth from her hands when her jaw flexes and tenses beneath the pads of your fingers.

It is only then that she looks down at you, eyes as sharp as blades yet so indescribably warm — like a flame licking at your skin, burning so deep you feel it linger for weeks after. Arlecchino is not soft, far from it — but she blunts her jagged edges for you anyway, brushes her lips against your knuckles and allows you a moment of adoration. Carves her worship bone deep in the ghost of her touch against your lower back as she leans down, let's you wash away the blood certainly not her own, never blinking as if you'd simply up and leave if she stopped looking at you for even the smallest moment.

You are well aware she is caging you in. You let her.

Though she is still stiff as a board up to the moment you set the washcloth over the side of the basin, her jaw flexing again, a moment of consideration given. She is not used to soft and brittle things, though — not used to touch that does not lead to steel at her throat, in her gut, carving out softness like a butcher carves up meat, section by section.

But this affliction of affection is stronger than the discomfort, at times.

You almost half consider letting her take the room and have a night of proper rest, but she is faster than you — a calloused hand tilts your head back, half lidded eyes glinting beneath the weight of exhaustion, her thumb firm against your bottom lip. She could kill you without even blinking, you are aware, but she is nothing but careful with her touch — not soft, not Arlecchino, but there is adoration in her touch. Like thumbing a locket portrait, trying to imprint their features into memory by touch alone.

Her touch is fleeting, but the warmth lingers long after — you don't need to be touching to feel the weight of her attention. She stokes the flames of the dying fire, has one of the children bring a fresh pot of tea, lingers even when she doesn't have to. You're sure her desk in her office is far more comfortable to work at, but she'd crammed a small desk into the room anyway, stayed even long after you fell asleep most nights. You never did get to stay up long enough to notice her slip in beside you, nor wake up early enough to find her there with you, but the heat lingers — she leaves breakfast at your bedside table, a small note of affection if she's feeling particularly sappy. Even when you don't see her, she makes sure you feel her presence however she can.

Neither of you need to speak to express it. The silence is..oddly comfortable, filled by the shift of paper or scratch of a pen, the clink of a cup or crackle of fire. It's a little too easy to get lost in watching her work, masking a smile whenever she glanced back at you with a question on the tip of her tongue that goes unsaid.

It's better that way, you both think. The silence was best left undisturbed — as if trying to break it would be like breaking the mirror to each others lives. You don't busy yourself in the affairs of the House of the Hearth, and she doesn't make you. It's better that way, too. Maybe that makes you naive, blind even, to the bodies at her feet piled so high she could drown, but you don't want to give up this fragile tranquility.

So you let the dull scratch of a pen lull you to sleep, try not to smile too much when a hand reaches out in uncertainty to cup your cheek, thumb brushing over your cheek with so much affection it makes it hard to breathe.

It's a tenuous balance, but come the next night you will wipe the blood from her cheek again and she will care for you the only way she knows how — distant service.

And when you wake up to an empty bed, warm despite the fires long burned out, you'll still feel her presence in the allure of a warm drink and pastries at your bedside, a note tucked beneath the plate.

Just like the day before, and just as you expect tomorrow to be. But one day you'll gently pull apart the barbed wire and be let in — not today, no, but someday. It's a slow process, but you're patient enough to wait — and when she let's you in, you'll tend to the scars that it left like you've always done.

One step at a time, one day.

[mapleandgingeroatmeal]

OK I have a strong feeling I'm about to end act 3 next time I talk to the king in a second here. Figured out that The King and Sif are from the same place, got the picture, gone all through the house after all friendship quests are done. The last snack scene before the king here has been so sweet!! They're a fambly!! Its also got me tense af though. The good feelings are building so high that I just know they're going to be used against me...Whatever's about to happen is gonna hurt, I just KNOW it.

[extantformoflife]

do you think if I don't look at my computer for the whole time I play this bit act five will be easier to get through

[boos-gh0st]

I had called my friend Butwhy earlier today and as he was leaving the call he said “wait, what’s black and white and read all over?”

“…a newspaper.?”

[stifling a laugh] “an in stars and time reference”

“SHUT THE F-“

Anyway I got my girlfriend to start playing ISAT today and I consider that a massive win

[felikatze]

QoL as Kindness: ISAT's diagetic tutorials

This is the hopefully first of a series of posts I'll be doing reinterpreting ISAT's Loop through the lens of START AGAIN: a prologue's context. As such....

Major spoilers for both ISAT (all acts, including optional content) and SASASAP (all endings).

One of the biggest differences between ISAT and SASASAP is it’s QoL – it’s Quality of Life. QoL refers to all the little things that make a game just that little bit more playable; quick to navigate menus, quicksaving… tutorials.

It’s not really a surprise that SASASAP is as RPGmaker as RPGmaker gets. This isn’t a criticism, just an observation, and also a compliment to how much Adrienne’s skills with the engine improved between releases. Still, there’s some things that ISAT has over SASASAP.

ISAT’s QoL is absolutely essential to making it bearable. Anyone ever watch an ISAT playthrough where the player sighed in relief as the tutorial on picking where you loop came up?

SASASAP lacks a lot of ISAT’s QoL because it’s an earlier project without a studio backing it, but what impresses me is how this change ties into narrative.

Because the greatest chunk of ISAT’s greatest QoL is provided by Loop.

Even before you ever meet them, they’re already over your shoulder. Loop is the tutorial, speaking to you inside your brain. It’s genius, in that no player is ever going to question this. Hell, SASASAP’s movement tutorial is the exact same thing with less flavoring

This reframes what the QoL is – it’s not just a convenience to the player, it’s a convenience to Siffrin, too. It’s diegetic. It’s not something the game is giving you, it’s something Loop is giving you. Let’s look at what Loop gives you, and more importantly, why.

Zone Out

The first of the QoL features I want to talk about is the Zone Out function, the absolute bread and butter of not making this game a total slog.

The Zone Out feature as is did not exist in SASASAP (because Adrienne didn’t know how to do it yet) – instead, some doubled scenes let you just skip them entirely outright. There’s only two extremes: listen to all of it again, or none of it.

ISAT’s zone out system is much more dynamic, since it fast forwards dialogue line by line, letting you zone in whenever you’d like, and forcing you to zone in whenever a) something notably new happens, or b) whenever Siffrin speaks.

The way this feature is introced by Loop is kind of genius. Because Loop’s tutorial is about one thing – it’s okay to skip.

“You might miss what your party is saying, but who cares, right? If you make them mad, you can always loop back and they'll have forgotten all about it!”

It’s a cruel joke, or at least it seems that way on the surface. It’s also genuine advice. And a cruel joke at the same time. For Siffrin, freshly starting the loops, this is scandalous, but for Loop, who’s long since desensitized, it’s the same old same old.

What Loop’s doing here, by joking about Siffrin not listening to the party, is alliviate Siffrin’s guilt when they inevitably take Loop up on the offer. Because, even though Loop loves their party members…

From SASASAP, when sitting outside the bathroom:

(Will you get farther this time?) (Will you live this time?) (Or are you stuck listening to the same lines forever?) (…) (Stars, you’re so tired.)

Loop knows intimately well that Siffrin is going to drive themself insane trying to be a people pleaser every single loop, so this joke is telling the outright – don’t bother.

At first, Siffrin (and the player) still might. I really enjoyed reading the same conversations five times minimum because they’re fun and I’m deranged, but at some point I did start skipping them. And it was a relief to know there wouldn’t be anything new.

Siffrin: “Should I check everything again?” Loop: “You mean, should you check the same barrels, the same closets, the same objects on tables every loop?” Loop: “I mean, you can, but… You know things won’t change, right?” Loop: “If you really want to get a certain item again, or listen to your friends repeat something funny, you should!” Loop: “I personally would only check two or three things every loop, and ignore the rest.” Loop: “It will just make you crazy to expect something to change, when nothing will.” Loop: “All that might change is your reaction to it!”

The game is telling you, Loop is telling Siffrin, don’t drive yourself insane playing, please. The characters aren’t going to remember if you skipped something.

In the course of my script wizard activities, I’ve gotten an in-depth view of just how much that actually holds up. Pretty much all major differences are by Act, unrelated of how often you’ve done something. Minor variations apply for other things, but… those variations are minor.

And this also points out what all those variations are. Siffrin’s reactions!

Loop’s pre-empting Siffrin’s guilt, cuz they probably felt it themself. Hell, we do know they felt the pressure to perform and make sure nobody notices anything’s wrong, in SASASAP! Right up until the finale, Loop was driving themself up the wall.

(You have to act, you can't crack, you have to fake it and play it exactly as you did the first time for the whole way through so your friends don't find out anything is wrong) (You don't want to know what would happen if they knew their quest was in vain) (If they knew their quest for justice and change always ends in stillness and death!)

Acting everything out perfectly is one of the ending paths for SASASAP, which results in… complete and utter failure. Obviously.

(You acted perfectly normally, didn't you?) (Nothing out of place, nothing weird, every line the same as it might've been the first time?) (Ah…That was your mistake, wasn't it…?) (Because… Didn't your very first time… end exactly like this?) (The King throws the Housemaiden's body onto the floor again.)

Zoning out for too many conversations actually awards weird points in SASASAP, locking you out of the Perfect Ending. On the other hand, acting “perfectly” in ISAT… has no awards whatsoever. No special scene or or optional event or anything at all. You get nothing for paying attention!!!

So spare yourself the pain already, m’kay?

(On that note: I don’t think Loop not being sarcastic about it would’ve like… worked. At the start of ACT 2, Siffrin isn’t going to believe Loop when they say “Stop forcing yourself to relive the same thing over and over because you’ll start seeing your friends as disposable actors and lose touch with reality.” That all comes later, when Siffrin can look back on Loop’s words and see how right they were.)

Loop Back

The second biggest sigh of relief in any given ISAT playthrough is probably this specific tutorial.

Loop graciously shows you that you don’t need to loop back all the way to the beginning every single time. You can pick and choose where to go, even going forward by paying up with Memories of Skirmish.

This is a feature SASASAP does not possess, for the reason that it is much, much shorter, only covering about as much as one floor of ISAT’s three floor House.

But… since this is a character showing this to you, Loop showing this to you, we can ask… when did Loop learn this? After all, START AGAIN, Loop’s loops, do not have this feature.

“It'll save you time, so it's important, so listen up!”

This feature not existing in SASASAP means this is a thing that Loop did not know exists during their own time as Siffrin.

And that’s just the thing, isn’t it? SASASAP’s Siffrin does not know how to do this. They cannot pick and choose where they end up, as demonstrated wonderfully by SASASAP’s True Ending. There’s an even more wonderful implication, though –

On SASASAP’s Perfect End path, when exiting the final room before the King, Isabeau says this:

Isabeau: “…I'm glad you're feeling better, though!” Siffrin: (…?) “What do you mean…?” Isabeau: “Oh!!! Um, you were…” Isabeau: “Well! You were acting a little weird when we were way closer to the Castle's entrance……” Isabeau: “You weren't really listening to us, you were kinda smiling the way you do when you're actually not happy…” Isabeau: “…and you like, almost acted like you knew exactly where you were going?” Isabeau: “But clearly you're feeling better now! You're acting just like normal!!!”

SASASAP’s Siffrin knew how to do this, somehow managed to lock themself into the House’s last floor… and then forgot how to get back. By making this tutorial, Loop is ensuring that Siffrin never will.

“What can I do next?” – SASASAP’s greatest flaw

So, if you’ve had the pleasure of playing START AGAIN START AGAIN START AGAIN: a prologue yourself (as you should), then you’ve probably faced this scenario, or some variation of it:

I got to the end, I died to the King, but… what do I do next? The game tells me to go for the extremes, but how do I do that?

(edit: apparently some of yall just managed to speedrun sasasap in two loops. You're gonna need to stay with me here, please. Suspend your disbelief a bit, because a lot of people [including me] were dumbasses about it)

Maybe you try another loop, but just get the same ending again (or a differnet one, depending on a coinflip). You’re getting frustrated. Getting the Perfect Ending demands pinpoint precision to avoid everything weird, the True Ending demands good memorization of every single damn key in the game, and the order you do everything in. (Though, to be fair, the requirements on that one are actually more merciful than one might expect.)

Point is, in SASASAP, it’s incredibly easy to get stuck in that endless loop of “What the fuck do I do now?” It’s not uncommon to think you got it right only to get the same result anyways. What does one do in this situation?

They consult a guide, obviously.

START AGAIN’s ending requirements are frustrating. They are. When I tried to go for either the Perfect or the True Ending, I saved inside every single room, just so I could get right back to it when I inevitably fucked up five times minimum. This is both criticism… and praise. Because Loop is the major reason that ISAT does not suffer from this same problem.

Whenever you’re stuck in ISAT, Loop is just a single loop or call away at any times. And besides that, no plot requirement in ISAT demands nearly as many moving pieces all at once as SASASAP does – the “Sus Route” has been relegated to an optional ACT 4 exclusive event, instead of the game’s True Ending.

Instead of consulting an external guide on how to progress, you have one right there in the game, always ready with the next tip. They’re not infallible, mind you – enough time in Isatcord’s #game-help proves that, but Loop solved all of the moments I got stuck and frustrated in ISAT for me.

(Primarily that one time you need to figure out that a photo is similar to being stuck in time. That moment in particular is actually commendable, as you need to ask Loop about it twice before they tell you, leaving you a last shot to try and figure it out on your own.) Loop is a feature that nullifies SASASAP’s greatest flaw in its successor, and they choose to do so.

Memory of Keys

In my humble opinion, Loop does this because… they do not want Siffrin to suffer as they did. They want Siffrin to escape. And there is no greater example of their kindness than how Loop treats keys.

First of all, all keys in the game have a sparkling effect on them if you’ve picked them up at least once before, making it immediately clear where in the room they are. This means you don’t need to search every single room top to bottom for them, as you had to do for any keys and Star Crests in SASASAP. It’s some nice QoL that just means you don’t have to re-search the same area if you happened to forget which specific cupboard the key was in.

Key point being: SASASAP did not have this feature. In SASASAP, you did have to memorize where all the keys are, and doing so is expected if you want the True Ending.

Loop does not want Siffrin to have to do this. Because…

From SASASAP’s True End:

(The torch in the infirmary? That’s important!) (The key in the book? Soooo important.) (The names of your friends, that have been by your side throughout this entire adventure?) (Not worth remembering.)

Compared to ISAT’s ACT 2:

Siffrin: “How come I can see where the keys are?” Loop: “Whaaaaat? You caaaaaan? How can that beeeeeee?” Siffrin: “Is it thanks to you?” Loop: “Maybe.” Loop: “I figured you'd have other things to worry about than where a stupid key is.” Loop: “No need to thank me.”

To Loop, that they memorized the House’s layout over their friends’ names is a defining moment to their own failures. After all, in all likelihood, the True End of SASASAP is the last loop before they called it quits. It’s a traumatic experience from them, one that came from having to remember all the dumb fucking keys.

They do not want Siffrin to experience this. They do not want Siffrin to have to memorize the House, to push away what actually matters in favor of efficiency. So Loop is directly, personally, giving them a boon, so that Siffrin does not have to.

Conclusion

There’s probably more tutorial things I could talk about, but I feel like you’re seeing the pattern now, even if I don’t bring up saving level ups or keeping equipment or the “You’re stuck” signifier, least of all cuz they don’t have direct points of comparison with SASASAP like my other examples do (SASASAP has no changeable equipment, and saving levels doesn’t matter if you only have one floor, and you can’t softlock either.). So.

Loop’s tutorials all belie a fundamental kindness to their character. Everything that made their own experience trapped in the timeloop just that bit worse, they’re choosing to do away with it for Siffrin. They are choosing to make Siffrin’s time here easier.

Zoning out too much lead to them never paying attention to their friends, forgetting their names, so they make sure that Siffrin can still zone back in whenever something new happens.

Loop trapped themself for years on the final floor, locking themself out of progress that might lie further back, so they’re ensuring Siffrin knows exactly how to loop forwards and backwards so it doesn’t happen again.

Loop lets Siffrin keep equipment across loops to cut down on time spent doing the exact same thing over and over.

They are saving Siffrin time, and they are giving Siffrin comfort. At every single turn, Loop is saving Siffrin from the same pitfalls they fell into without anyone to guide them out.

It's honestly incredible to transform an increase in skill into an actual narrative element. Yes, SASASAP sucks more to play. But ISAT sucks less, because Loop wants it to. It's the perfect marriage of real world circumstance and storytelling. I could... probably pull another comparison here, saying it's like a game and its remake - overhauled graphics, expanded story, and loads and loads of QoL, because the makers of the remake realized something. They love the original, but parts of it do suck, and there's so much that can be done to make a new player's experience smoother. Metanarrative commentary,,,, woah,,,,,

Every single one of these QoL elements I’ve mentioned function as a crutch for a player’s failing memory, but also Siffrin’s (similar to what I talked about in my previous essay on ISAT’s ludonarrative - the player and Siffrin are always in sync, even in how tutorials benefit them). Loop doesn’t know the player exists though (only the Change God does), so they do everything for Siffrin.

To keep Siffrin from forgetting. To help Siffrin focus on what’s important. To make Siffrin’s journey just a little bit less miserable. Loop directly improves ISAT’s QoL. For you. For Siffrin.

From Loop’s introduction:

Loop: “See, I’m useful! I’m very useful! That’s why I’m here, helpful Loop.” Siffrin: “Why are you helping me?” Loop: “…” Loop: “Because I think you should be helped.” Loop: “I won’t always have the answers, but… I think having someone on your side to talk to is better than dealing with this alone.” Loop: “Right?”

From Loop’s hangout:

“But it’s fine.” “Whether you believe me or not, I’m here to help you.” “So you can escape this loop.”

And finally, from the start of ACT 3:

Siffrin: “Are you really here to help me?” Loop: “Stardust…” Loop: “…” Loop: “Yes.” Loop: “If you can believe anything, believe that.” Loop: “I asked to be here, so I could help you.”

And I do believe them. Loop’s feelings on Siffrin are… complex, to say the least. They love Siffrin, and they hate him in equal measure. They’re jealous, and spiteful, but underneath everything…

In SASASAP, if you die to a Sadness thrice, you get this monologue:

(Sometimes, when you loop back here…) (In the corner of your eye, you can sometimes see someone that looks just like you.) (Is it a you from another loop? Remnants of your past failures?) (Are you going crazy?) (May they succeed where you cannot.)

[softfem-dom]

xmen2000!logan with telepath teen!reader headcanons

✰ okay so, think back to Logan on his first days at the School.

✰ he acted like a surly cat that refuses to accept affection. Side-eyeing everything and everyone, not listening to anyone, scoffing and scowling, rolling his eyes, and being a massive dick.

✰ (he was just pissed because he had to stay in a damn school out of all places until those freaks that wore superhero suits deemed it 'safe enough' for him to go back home).

✰ so he just limits himself to walk around the hallways with a scowl and a cigar between his lips, bringing the heavy smoke of cigar with him everywhere he went.

✰ and, oh, cue you turning the corner a little quickly and bumping into him.

✰ Logan just grunts when you bump into him, holding the cigar between his lips with his teeth as his hands reach up to grab your arms and make sure you won't fall.

✰ a beat of silence. you blinking like someone had just flashed you with a flashlight in the face. and then your eyes start to tear up.

✰ and Logan freaks out big time. Confused and panicked as to having just made a random ass student cry.

✰ I'm talking wide eyes and frantically looking around in search of someone's arms to shove you into and away from him.

✰ cue Scott that was just walking by and suddenly gets the wind knocked out of his lungs because Logan pretty much shoved you into his arms.

✰ "fucking do somethin', slim" he said.

✰ spoiler: he turned around and walked away as quickly as he could without giving poor Summers a chance.

✰ and all the while he's mentally cursing himself beacuse making a kid cry is one thing those little shits will cry about anything, but making a teenager cry is another one (given their usually complicated relationship towards tears and vulnerability)

✰ skip to two days later when Jean finally manages to get him alone and it turns out you're a telepath that still doesn't know how to control their powers.

✰ and Logan's like "and?" cue the nasty wolverine bombastic side-eye and quirked eyebrow combo

✰ and and your telepathic abbilities consist of, amongst a few other things, read memories through contact.

✰ and then Logan's like "oh" and Jean is like "yes" and he's like "oh. oh shit"

✰ because he basically, accidentally and unknowingly, flashed a teenager with probably the most gruesome and traumatic war memories known to man.

✰ so now he's just like awkwardly eyeing you out of the corner of his eye anytime he spots you in a room because "damn how much did she see fuck"

✰ and he doesn't know the sheer extent of it until you wake up in your room feeling like you were about to puke your organs out and Logan wakes up just from the stench of your fear that he could smell from a floor away.

✰ it doesn't come as a surprise when he hears a shaky knock on his door and opens it up to the sight of you (paler than a damn ghost) looking like you might faint right there.

✰ "messed up shit, ain'it?" was what Logan groaned, voice raw with sleep, before stepping back and tilting his head as a sign to let you in.

✰ cue the protocol "what did'ya see, bub?" as he rubbed his thumb across your forehead to wipe the cold sweat there.

✰ cue to you looking at him with the most 100-yard-stare eyes he had ever seen and asking. "..where were his legs-?"

✰ and Logan just about chokes on air beacuse what the actual fuck. Staring down at you with his eyebrows up to his hairline.

✰ ellaborating on it, turns out your nightmare had offered you a perfect five stars third-person look into one of his memories in the trenches. The one when he was trying to calm down, sush, a young man crying for his mother on the middle of a gunfire because his legs had gotten blown off. the dude didn't make it.

✰ After that one, Logan simply grimaced "oof, tough one to see, kid" before wrapping an arm around your waist and pulling you to his chest. His chin on top of your head.

✰ "ya wanna stay w'me?" he didn't even look down, didn't need to do it in order to feel the way you immediately nodded your head. "alright, down we go" and pulling you down to the bed with him.

✰ he didn't have the strenght to look you in the eyes though, keeping you under his eyeline and cuddled up to his side.

✰ needless to say this routine repeated itself few times a week.

[skyrislunaflower]

Siciria Analyzes The Most Complex Stick Figures Known To Man (part 1)

SPOILERS FOR AVA / AVM / INFLUENCER ARC SERIES

READ AT UR OWN RISK

Also here's part 2

I was rewatching Influencer Arc Ep 1 because the music slays, and the fight choreography is just awesome.

*cut to Siciria chilling*

But then I noticed this;

So, to those of you that don't know what I'm talking about, I noticed that Blue just kind of waits there for a moment before going in to help Red. I wondered why, because throughout the series, these stick figures are shown to have really quick reaction times in these kinds of moments.

But then it hit me; it's about personality.

So then I decided to do a deep analysis of Blue's character, which is probably going to be the first of five parts (maybe even more) where I deep dive into everyone's traits and flaws and whatnot.

-

Here goes...

So, we've seen Blue as more of the pacifist assistant. He likes plants, netherwart, potions, and cooking. You don't really see him being the first to instigate something, or the star of a fight. Heck, even in the Raid episode, it's more focused on Yellow and the command block staff than him.

But we do see more of an aggressive trait as well, in that sometimes, he acts without thinking.

LIKE THE LAVA. HE DIDN'T EVEN THINK ABOUT IT AND JUMPED INTO STICKING LAVA. WOW. WOWOWOW. WOWOWOW.

But, what startles me, is that even though he'll self-sacrificially jump to save someone, and follow someone without thinking, and needs someone to ground him (usually Yellow), there are also times where he just freezes. Like in the Influencer Arc. He freezes when Red is getting beat up by the clones, before shooting at them. His brain takes a second (hehe) to catch up.

And here, too. Yellow is making a plan, where Blue's emotions are overriding any sort of thought.

...BUT AT THE SAME TIME, we also see those two things coalesce together for the better. We see him take action instead of freezing, and actually think about what he's doing as well. And this moment in the battle against the King goes kind of unnoticed, in my opinion, since there were so many hard fighting sequences and emotional stakes.

LIKE WHAT THE STICK. HE LED AN ENTIRE VILLAGE INTO WAR, AND THEY WERE ACTUALLY ABLE TO HOLD THEIR OWN AND CAUSE THE PILLAGERS TO RUN AWAY WITH ABSOLUTELY NO CONTEXT OR PRIOR TRAINING (albeit before they came back with the evoker and illusioner)

But we also don't talk about how much he assists everyone else. Like here. Green would have gone flying twice if Blue didn't have the presence of mind to brace him.

I saw a comment under the video calling Blue the MVP of the fight against Greenscreen. And while I do harbor the opinion that everyone contributed a lot to the win (and don't really agree with the comment, as Green, Yellow, Red, and Second contributed so much too), you can't deny that he assisted everyone frequently during the fight, and was a key part of success.

Blue's character arc is something we don't really talk about much as a fandom, but there are truly some moments which are, like, really cool.

And the most important one of all, of course.

Bluecifer "Elsa" Blonde. (my fanmade name, tell me if u like it!)

#slayqueen

EDIT AS OF 9/24/24:

There's also something else I noticed. Blue is shown to be able to keep track of a lot of things at the same time as well, like the positioning of his friends in a battle, and enhance them properly. He knows exactly what they need and can deliver it to them.

In the Witch, when he arms himself with potions and starts fighting, he has the presence of mind to turn his friends into animals that can stop the witch. For example, when Red is about to strike, he turns him into a golem for it to pack more punch. It's truly amazing, because he was able to pinpoint that that was about to happen before it did.

And even with himself, when the witch started shapeshifting, he did too. He knew exactly which mob would combat which, and he might have won if he hadn't run out.

[laviaceae]

your art has spiked my interest haha what’s tower of hanoi and how/where do i play it?

OKAY.

TOWER OF HANOI IS THE BEST GAME YOU ABSOLUTELY, 110% GUARANTEE NO REFUNDS, HAVE NEVER HEARD OF.

LET ME EXPLAIN.

(also known as: i win at all times ever and im glad my tawahano propaganda pays off, HAH!)

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Have you ever heard of... END ROLL? Walking On A Star Unknown? Farethere City? These are all relatively niche RPGMaker 2000 games made by a Japanese game creator known as Segawa (せがわ), with END ROLL being the most popular among Western Fans (you might see the main character, Russell, in some fanart with OMORI or Yume Nikki characters for example)!

In fact, for followers of mine who are In Stars and Time fans, END ROLL was credited as one of the inspirations for that game!

TOWER of HANOI is another game made by Segawa, one released in November of 2020, and one of the final games they've made in RPG2K (so they've got an absolute mastery of the engine).

I'll be in part directing this post towards ISAT fans since that makes up the majority of my followerbase on Tumblr, so there may be ISAT spoilers (including Two Hats/Act 6 Secret spoilers) up ahead! There will also be mild TOWER of HANOI spoilers required to explain the game's premise. Proceed at your own risk.

Section One: So, what is TOWER of HANOI all about?

TOWER of HANOI is a narrative-driven RPG with multiple endings (2 'true endings', 3 'bad endings') set in a futuristic, post-post-World-War-Five society. The game mostly takes place within the TOWER, a hyper-realistic virtual reality simulation currently undergoing playtests that was built to be able to rehabilitate HANOI (androids that look and sound and feel emotions like humans do) who have dangerous levels of mental instability.

The stability of a HANOI is measured through their Stress Level, a numerical representation of that HANOI's mental state. HANOI are generally considered by society to be more of technology or property than people (like your computer or your phone would be), and as such have no rights and are often mistreated by humans. More than 50% of HANOI hate their human employers.

In order to combat the dangerous upward trend of HANOI Stress Levels (caused by their mistreatment), the TOWER was created. In it, HANOI are expected to fight and defeat virtual enemies that approximate humans in order to destress through violence. Upon a successful completion, HANOI are to be returned to their human employers.

Because the TOWER is currently undergoing testing, groups of HANOI are accompanied through the TOWER by a human "Inspector" who is expected to report any bugs or issues they encounter during their playtest.

You play as one of those human Inspectors; Inspector No.102, Coral Brown.

(this is my art! you may have seen him in my ISAT au as taking the place of Siffrin).

He's 33 years old, kind, calm, and soft as a marshmallow. He's also a human being who believes in the rights and wellbeing of HANOI, and sympathises with their suffering. As a child, he was raised by a HANOI instead of his parents, which may have contributed to his feelings towards them.

Over the course of the game and as you progress through the TOWER you'll get to meet and intimately know the ten HANOI under Coral's care with Fire Emblem-esque Support events depending on how many times you bring each of them to battle. These can be between Coral and the HANOI, or the HANOI between eachother. (There are more than 100 of these such events to collect in total!)

TOWER of HANOI's characters are both charming and tragic. They each have incredibly well-realised personalities, backstories, and relationships both with the Inspector taking care of them and eachother. It's easy to imagine day-to-day interactions in Headquarters (your hub area) between them all.

You have Adams, a HANOI built for missionary work and who's Stress Level is the lowest out of all ten (and actually below the 'dangerous' stress threshold)! He's silly and mischevious and adores spicy food. Despite this, he's here at the TOWER because he doesn't believe in God, despite that being an important part of his 'role' in the world. When did he stop believing in God, and why? What is his relationship with the people at the Church that took care of him?

Or Mira, a Childcare HANOI that reminds Coral of the HANOI that looked after him as a child. She loves children, but has to constantly grapple with the fact that she can't have any and that any children she takes care of will eventually, inevitably leave her. How will she and Coral resolve the fact that they both remind eachother of someone they knew in the past? How will she interact with the other HANOI?

There's also Nanashi, a cheaply-made HANOI for miscellaneous chores who's trust and care for humanity has been completely shattered due to his ties with the mafia. He wasn't even important enough to be given a name until Coral gives him one upon their first meeting in the TOWER. He hates humans, hates Coral, and refuses to trust him, instead convincing himself that Coral is merely faking his kindness to get him to let his guard down just to use him like all humans he's ever known have done. Will Coral eventually be given Nanashi's trust? What will he do once he leaves the TOWER, and has to be sent back to the mafia where he came from?

Finally there's Kimon Noroi, a HANOI who resembles a child that fulfils a very special purpose. Noroi is what's known as a Yorimashi (憑坐), and uses her body to allow spirits to occupy it and commune with the living. She's seen how terrible humans can be because of the spirits she's seen and can come across as a bit standoffish (though she's really just as much of a menace as Adams is), and definitely, definitely, definitely doesn't miss the Priest at the shrine she lived in before coming to the TOWER at all! How will she interact with Adams, both having people they miss back at home? How will she interact with Mira, who's like a mother figure to her in this place?

As you progress, you can find the answers to all of these questions, as well as the identities of the six other HANOI I've not even mentioned here- all as well-written and interesting as these four.

However, the HANOI aren't the only faction in the game to worry about.

The very NPCs and enemies you'll be fighting along the way are coming to life, gaining sentience, and realising they want something more in their existence than eternally repeating dialogue chains and fetch quests and death in battle.

The head of this 'rebellion' of 0s and 1s, a computer virus named Shunya, acts as the main antagonist for the majority of the game, but even she isn't... 'evil'. She has her own found family, a group of bugged enemies she's befriended along her journey, all of whom want her to realise her dream of "melting" down the TOWER and returning all of the 0s and 1s inside to their base state of not thinking, not feeling, and not being in eternal pain.

Should you fight these people, if their emotions really are real, and defeat them without caring about their plight? Is it right to, to disregard the thoughts and feelings of 0s and 1s for the sake of the wellbeing of the HANOI Coral's grown so attached to? Should you follow the 'role' you've been given, or disregard it and create your own?

TOWER of HANOI excellently tackles the dichotomy of themes between 'roles' in societies and the 'dreams' people have, and nowhere is this more apparent than Coral Brown himself. Throughout the game, there will be multiple events and opportunities in order to control Coral's own Stress Level, and how he feels towards both the side of HANOI and the side of 0s and 1s he's stuck between. Lower his stress and he'll side with the HANOI and enjoy his job, and at higher stresses he'll begin to hate it, being unable to eat or sleep as he starts feeling awful for the 0s and 1s he spends his time killing in the TOWER....

These branch into the two main 'True Routes' of the game, depending on your Stress Level... but I shall leave the specific nature of those to discover in your own playthroughs. :)

If you've enjoyed ISAT, there's a good chance you'll enjoy TOWER of HANOI. Not only is one of the creator's previous games an inspiration for ISAT, they share a lot of similarities in their characters. Coral and Siffrin are very similar as protagonists, and as for others...

(Loop artwork credit to Insertdisc5 from In Stars and Time)

I could write a whole essay on how these two are so painfully similar and would kill eachother on sight. Maybe I will one day. Who knows. Me when I have a guide character lacking half of a face that has Fucking Issues TM stemming from intense jealousy and shares some visual similarity with our main character. Just look at them. This is the sole reason for the twohats warning. Just look at them.

Section Two: Wow, that's so cool and awesome Mx Lav! How do I play TOWER of HANOI?

You can check out the official website here, and the official downloads page here! I'd recommend following the instructions on this website to get the game working faster (because RPG2K is a pain in the ass on modern systems).

...

...Oh? It's all in Japanese? ...Well-

Section Three: --WAIT WHY IS IT ALL IN JAPANESE??

Yes, that's TOWER of HANOI's One (Big) Thing. The one thing you have to look past in order to actually play the game; it's all in Japanese, and an English translation will never be made (unless Segawa-san lifts the translation ban).

However, you don't actually need to know Japanese to play the game. I sure don't! And all of the other English-speaking fans I know that have played this game don't either.

There are three main ways to accomplish this, but I'll only discuss two here:

Sugoi Translator or similar translators. Sugoi Translator (or Sugoi Toolkit) is a machine translation tool that automatically grabs and translates the text in game you're looking at. The translations themselves make a good amount of sense, too! It's a little difficult to set up, but once you've calibrated it once you never have to worry about it again. This is definitely easiest if you want to read all of the dialogue in the game, including flavourtext (as yes, all 10 HANOI and Coral have unique flavourtext for every item in the game...), but is only available for free on the 15th and 16th each month and is otherwise only available to download on the creator's Patreon.

Google Lens. The easier, plug-and-translate method of the two. Simply download the Google Lens app and point it at the text on the screen, it'll read and translate it for you. The translations here are a little goofier (and sometimes, depending on your phone camera quality or lighting conditions, can be difficult for the app to pick up), but it's easy to complete a playthrough with just this tool alone.

If you can't get past this game's One Big Thing, I get it. It's a hard game to sell to people precisely for this reason. I'm at least glad you've read this far down into the post to get to this point and have showed interest in the game. And now you now about a game you didn't before, and you also have an itty bitty bit of context for all the non-ISAT stuff I post here. But this game has had me in a chokehold for the past two years and I promise that, if you can get through it, it's extremely worth it.

If you have the time and you're willing to try, please do! I love this game with all my heart and it's such a shame that most Western fans will never have easy access to it. I shill this game with all my heart, for realsies.

Section Four: Trigger/Content Warnings

If you've played a Segawa game before, you knew this section was coming. Segawa-san's games often tackle heavy or dark themes, and TOWER of HANOI isn't an exception. I'll add a list of content warnings here just so you aren't surprised by anything.

Suicide, both on and off screen

Self-harm, on-screen through dialogue

Themes of terminal illness, on screen

Hospitals (on screen, a majority of one of the game's dungeons takes place in one)

Death (on-screen)

Abuse (off-screen, but portrayed through dialogue)

Child harm/death (mentioned)

Kidnapping/Child kidnapping (mentioned)

Horror elements (no chase sequences, one jumpscare through an optional and hard-to-find sidequest)

Sexual Assault/Abuse (Not on-screen but talked about extensively, can avoided if you avoid Melitica/Merrytika's dialogue)

Mishandling of discussions surrounding gender identity (this character's identity is shown generally throughout the game to be a positive/supported thing, but some dialogue and design choices are quite ignorant/transphobic- though not maliciously. This can be avoided if you avoid Kathy/Cameron's dialogue)

There is also a substantial amount of screenshake employed near the end of the game. This list is from memory and limited from the amount of dialogue I've personally seen/translated, so it's probably not fully comprehensive. But it is thorough.

Section Five: Conclusion

oof... You've made it to the end! This took me the better part of a day to write, and I'm glad I finally got to advertise my favourite game on main. I hope... any of this makes sense, and that you enjoy! Even if you decide TOWER of HANOI isn't right for you, you at least know a little more about something you didn't before. Thank you so much for getting to the end, and I wish you the best!

[basilpaste]

Would osis isa have a similar trigger for Act 5 type stuff as in canon, or would it be brought on by something different? And is there any other tidbits abt Act 5 osis isa?

if by act five trigger you mean talking to the head housemaiden? yes. act 5 is triggered by isa trying to have a conversation about wish craft with euphrasie.

if you mean. the stuff that leads to the house? well.

its not exactly the same, really. hurting your friends on purpose isnt the same as what siffrin does. not really.

change is destruction, isnt it? all he has to do is tear things down.

... as for actual like logistical stuff about isa in act five? he shuts down his emotions. isabeau is the fighter, the defender. despite this: in the base game he only ever learns buffs by level up. he likes to support his friends more than he likes to do damage.

so when that friendship is gone? when theres no one left to support but himself? when this has to be the end because this is the only option he has left?

hes the fighter. he fights. with no feeling to hold him back: hes scary efficient.

[cloud9v]

so would the act 5 stuff be like their equivalent of the colors out of space or smth