#isat critical

[imminent-danger-came]

I really am so sad I don't like isat. The themeing was very good

[artilite]

many many isabeaus... and some sloopis's of course :^) !!!!

i like consolidating my doodles so that's probably what i'm going to do for the most part from now on (^^ゞ!

[asterain]

loop with a suspiciously star-shaped lump in their throat: we outta timeloops

[cursed-child-autumncookie]

Silly Mirabelle drawing...

[thebestusernamepossible]

Literally going insane, might have to write fanfic for the first time in 2 years because the people™️ do not get my favorite female characters like I do and I feel the insurmountable urge to write her. I’m going to bite drywall why don’t ppl see her complexities. PLEASE STOP WRITING HER ETHIER AS DOMICILE MOM OR BITCH (or just for shipping) she is so so cool please guys please.

Also while I’m here, fandoms tendency to shove women in the ‘pure powerful goddess who can do no wrong’ box and then proceed to never give them an actual narrative role other than like ‘supportive’ or ‘took out a few background guys’. Like why DOES this incredibly badass and complex female character just get shunted into doinging some cool flips, getting praised about it (she’s the strongest fighter, so feminist wow) then never getting actnowleged as a 2 dimensional character.

I saw this a lot when I was in the Batman fandom, particularly with Cassandra Cain. She is a highly complex and interesting character, but in fandom she’s kind of shunted to ‘Badass therapy dog who takes care of the men’. Because even on the slight chance her backstory is brought up it’s always never delved into and mostly used to make her etheir more tragic and in need of support on a surface level or to let her be compassionate with the men characters who get their actual problems foucused on. It’s a unqiue kind of frustrating because it’s like almost letting the cool female character be cool, but it’s more like the idea of a badass women is shoved in your face, maybe joked about (or if we’re lucky she gets to beat up a few bad-guys), but ultimately treated like a cardboard cutout. Interestingly this actually isn’t entirely a female character thing, it’s also common with like old grandfather/grandmother characters and the elderly in general. But it’s usually badass women from what I see. :/ Why can’t fandom explore their stories (people do but why is it so much less), why can’t they be the prtags of cool AUs or time-travel fix-its, or crossover events

Idk I think I’m just frustrated, and I typed out more than I thought I would. Also Ive seen what happens to some other posts complaining about fandom misogyny, so please know if you’re a TERF, fuck off you have no place in this discussion. We will never agree, and frankly all of these points apply to canon Trans Women characters. Don’t say shit ill fucking end you.

[codacheetah]

It's deeply important to me that Loop kind of sucks

[perenlop]

havent seen this take in a while thankfully but it popped up in my head and i wanna post this anyways. i think everyone who talks about how siffrin “got off too easy” at the end of isat and his friends should have abandoned him should go read warrior cats if they want an example of a character using their trauma as their god-given jailbreak card to treat their family and peers (a good amount of whom who were completely innocent) like dogshit, and who faces zero consequences from the narrative for it (and in fact bends over to blame their peers). like read all the shit jayfeather does while the narrative sobs over how tragic but awesome and quirky he is and then look me in the eye and tell me siffrin’s ending was poorly written.

[torchstelechos]

Man, I hope Siffrin gets a good therapist after this is all over. Also Loop, but I think Loop would prefer self help books over a therapist despite the fact that Loop would probably monologue about their issues to the nearest schmuck available that is not part of their friend/family/stranger group

[vee-lociraptor]

oh he's trans isnt he

[loveologystudies]

thinking about isat flight rising au.......

[kazehita]

what’s isat about/what kind of game is it? looks interesting :0

hi anon!! YOU ASKED FOR IT!

"Live with the ever-present burden of being trapped in a time loop only you can know about in this turn-based RPG. Create a better future for you and your friends. Find hope where there is none left. Pray to the stars and free yourself from time.

-- In Stars and Time's steam page

In Stars and Time is a FANTASTIC role-playing-game created by a solo indie developer. It centralizes around an absolute delight of a character and their efforts to escape a timeloop! But truly, it's contents are even more awesome than it's premise. This game has a similar feeling to Undertale or Omori, but is very distinct !!! In my opinion it's more intense than the former, but much easier to play than the latter (Omori's themes made the game too intense and visceral for me to finish, personally).

My favorite thing about ISAT is it's characters and story, with the would-building as a close 3rd! I have to be careful not to reveal too much, because it's really so charming to experience first-hand. ANOTHER favorite thing about ISAT is it's art direction! Don't be fooled by it's b/w style, it is chock full of attention to detail and delightful visual work. Ok though, I actually lied! My ABSOLUTE FAVORITE thing about ISAT is it's Storytelling through gameplay - you have to take a fair share of initiative to really dig into it all! The game doesn't really sit down and try to tell you everything in a writer-to-a-reader way; instead the world and characters feel like they're living and breathing and communicating and experiencing! And so, subsequently, you the player experience the world very naturally as well!

In addition to this, the tone and energy of the writing is something I found very unique! It is so worth giving it a go! Lastly, copying over something I've said before: I actually didn't realize the cast was LGBTQ+ before I started playing, so that was a fantastic surprise. This game is angled to talk about the queer experience while being interwoven with the themes and setting - and it was a great experience for me to see, in particular, aro and/or ace characters portrayed excellently - both thematically and realistically!!! (And i do mean this. To write the queerness into the themes/worldbulding is, really really cool!)

I'm currently working through my second playthrough of it! I'm trying to catch the few things I missed. In general the playtime of this game can vary greatly! Some places say it's got a 8-10 hour runtime, but some real goobers out there can clock 40 hours or more (because they are insane. I say this with an awed voice not a judgemental one).

I'm not actually sure how long my playthrough took! It's the price i pay for leaving the game running in the background....

[imminent-danger-came]

Me, right now: Oh boy! Just finished isat to completion, the game had some very cool concepts and themeing, but the character writing/dialogue was so bad/against my tastes that I ended up hating it (though I still totally understand why people love it). Anyways, time to look at the isat critical tag to see what other people thought it's flaws were

except

The only two posts in the tag are my own

[eldragon-x]

I think ISAT AUs where other characters loop can be a fun practice in character study and it makes sense that the "Loop" in those AUs would be a different character based on which character is looping. At the same time I'll look at those AUs and be like aw Loop isn't there? my blorbo doesn't exist? :( but also having a Loop who was a Siffrin there when a different character is looping feels weird also.

[bi-worm]

Updated List:

6578/28k

23,245/70k

67,216/100k

Aseel's Family - https://gofund.me/291cb0e6

27,150/35k

Tagging for reach:

@khawla-gfm2 @a-shade-of-blue @90-ghost @greggorylee @rainy-fog

@autisticmudkip

A list of fundraisers and a group helping out, please share and/or donate if you can! I'll edit this with new fundraisers when I can.

Help out Inshashi and his family!

https://gofund.me/c06ed25d

116,550/130,000

200/5000

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Rami's family

https://gofund.me/6f8ac922

35,865/70k

23,379/25k <-- so close!!!

Tagging for reach

@a-shade-of-blue @90-ghost @aratlesbian @autisticmudkip @gazavetters @khawla-gfm2 @heritageposts

[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.)

[chronologically-challenged]

Euphrasie as a character kinda fascinates me in a meta sense.

In the original comics, only two characters really existed, Siffrin and Euphrasie. Neither of them are as we know them, not 100% but they're the only two that are definite characters.

And yet despite Siffrin's thoughts and backstory being fully developed, despite him being given a full party for the full game, Euphrasie remains almost static. There is added character to her don't get me wrong, to what Mirabelle says about her, her dating Claude, what her office says about her, and the little dialogue there is at the end (that isn't the big speech). But they're little things. More speculation and theory crafting than a full idea of her personality.

And notably this isn't criticism. Euphrasie does her role well as mentor figure turned harbinger of the end. She doesn't need that depth for the role she plays in the narrative.

But isn't it funny? A bit? That the one that says her lines by rote who cannot be changed in what she says despite everything else being variable in the loops is ALSO a character who only barely changed to her conception? It's like inevitably, whether it be comic Siffrin or isat Siffrin, Euphrasie will always be there. To mark the end.

How ironic that the Head Housemaiden to the Change religion remains static. She may have been given another title beyond harbinger, but her role remains the same. And look? She already knows her lines.