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limethefirst · 3 months ago

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Void Runners Pt. 3

pairings: Deadpool x Wolverine x teen!reader

warnings: heavy Deadpool and Wolverine spoilers, crude humor, violence, swearing

summary: Since being saved by Wade after your encounter with Cassandra, Logan makes you lead the way in the wasteland in hopes you know where they are.

Part 1 / Part 2

a/n: Per-chance I may have disappeared but that doesn't mean I won't finish this story, sorry for being gone so long, please forgive me with this 2000 word update! Enjoy the long awaited part 3

Currently the three of you were all walking through a grassy field, Wade was annoying Logan like usual as you walked in front of them—to be completely honest you were exactly sure where you were going but you knew you’d get there.

It was like the blind leading the blind but they didn't know that.

As they continued to discuss whatever...dumb things Wade could produce, a loud bark rang in the distance, seemingly catching everyone's attention.

You looked forward, as a strange little dog began to run into view. It was ugly, in an oddly cute way, it's tongue jumping up and down with each step it took.

Logan had a disgusted look on his face, while Wade seemed star struck. Wade began to take his mask off, his mouth agape; as the dog got closer the man fell to his knees, and opened his arms, letting the creature jump up on him and lick his face.

"Look at you!" Wade exclaimed, clearly excited, "She's coming with us,"

"No she's not," The man in yellow protested, obviously not wanting the extra company.

While they bickered you took the opportunity to get a closer look at the dog, it made a strange noise as you did. Although you could tell it enjoyed the affection it was being given.

"Sorry, sorry about that girl!" A voice rang, the group turning to look, saw a, what seemed to be more attractive Deadpool with long hair.

You looked between both men, confused at seeing two Deadpool's at once, more so one that said 'sorry' upon first interaction, "Who are you?" Wade asked, noticeably confused.

The other man stopped for a second to catch his breath, "Oh, I'm Deadpool, and I guess you're Deadpool too," He gestured to the Wade you've been traveling with, "But in here, everybody calls me 'Nicepool'."

You snickered at the name, the thought of a nice Deadpool now in your mind.

"Oh my goodness, wait till you see Ladypool. She is gorgeous," Nicepool began to ramble on, "She just had a baby too and.. woosh. Can't even tell." He told you guys, making a gesture with his hands to show you guys what he meant.

Logan gave him a confused face, while Wade added on, "I don't think you're supposed to say that."

"That's okay," Nicepool told you three, as his right hand went over his heart, "I identify as a feminist."

No longer being able to hold in your laughter from this entire interaction you let out an audible snort/chuckle.

All three men looked at you, Wade had a subtle hint of amusement within his eyes, Logan was just confused and Nicepool looked disappointed you'd laugh at the fact he's a feminist.

"Right," Wade said, deadpanning. Before he suddenly perked up, his attention caught by something, "Are those gold-plated 50 caliber Desert Eagle pistoleros?"

" 'Course, to match my ear huggie," Nicepool responded, a smile on his face while he showed off his gold.

"Can I have 'em?" Wade asked, sounding like a child wanting to open their birthday gifts early.

Nicepool laughed at him, "Over my dead body!" He responded still smiling.

You grimaced at the man, "You're gonna regret saying that to him.." you said, knowing Wade would take it seriously.

"You're fun!" He said looking between you and Wade, "And I guess you've already met Mary Puppins, AKA Dogpool. Careful where you touch her, she's 90% g-spot and she'll let you know it."

You looked back at the dog as Wade adjusted her in his arms.

"You let this little flirt out of your sight for one second and she starts shopping for a new papa!" Nicepool exclaimed, still smiling throughout the whole interaction.

You looked back towards Wade only to see Mary Puppins licking his lips and mouth, slightly disturbed by the strange sight.

"If you can't be a responsible pet owner then maybe you don't deserve this little unicorn!" Wade spoke as if a dog wasn't literally eating at his face.

Nicepool only smiled at him and put his hands together, "Guilty on all charges your honor. Shan't happen again" Nicepool bowed to Wade.

"Why are you so nice?" Wade asked, confused why this alternative version of him was so strange.

Nicepool once again smiled at him, "It cost nothing to be kind."

"Shutting the fuck up is also free," Logan added on, seemingly annoyed at the fact he was surrounded by technically three Deadpool's.

"Caliente!"

"This is Logan, he's usually shirtless but he let himself go since the divorce." Wade introduced as he tilted his head towards Logan, "And this little thing right here is Y/N, they're our little time jumper!" You wave a small wave, not wanting to be rude. Nicepool gave you a smile.

"Where's your mask?" Wade asked, a look of suspicion and maybe even a hint of envy on his face.

Nicepool, although still smiling, gave a confused look before regaining his happy demeanor, "Come on guys," He pointed at his face, a knowing look on his face.

Logan just looked disgusted and Wade was annoyed, "Ugh this guy, we're looking for a group of survivors."

"Oh they're out there, but merc to merc, you better hope you don't run into the Deadpool corp, yeah they're crazy!" Nicepool began to explain who they were and what they do, you've been in the void long enough to know who they were, fortunate enough to have never come face to face with them.

You didn't listen much after that conversation, only being asked by Nicepool if these hooligans were bothering you and if you'd like to go with him instead but you declined, more interested in leaving this place then having to be stuck with another Deadpool for the rest of eternity.

As you three were led through what seemed to be a corn maze you stumbled upon a car, that Wade did not seem to like one bit.

"No, no, no. Absolutely not, nu-uh what the- No, no" Wade continued to protest.

"Just get in the car" Logan told him, his tone already showing how he was getting annoyed.

"What's wrong with the car?" You asked Wade confused on why he didn't want to get in.

Wade looked offended when you asked him that, "This isn't a car, this is a Honda fuckin' Odyssey, throttle response sucks a cock, dated infotainment system. When Honda saw that the untreated chlamydia was makin' a comeback, they invented the Honda Odyssey to compete."

You looked at Wade, shocked at how much hate he held for the Honda Odyssey and at the relation he was able to make between chlamydia and a car.

"Get in the fucking car."

Nicepool smiled, his creepy little happy smile, "She'll get you there safe and sound, old Besty always does." Both you and Logan walked up to the car, getting ready to leave as soon as possible, "You're gonna have to give me my dog back though."

"I know. Listen, yes child.." Wade spoke to Mary Puppin's, as he pet her, showing his strange attachment to the furball, "If you ever wanna give her up, or if she needs a new home or if something should.. happen to you, I'd love to be her papa."

Nicepool laughed at Wade's subtle threat, "What would ever happen to me?"

Casually Wade replied, "Lots of stuff," This time the threat didn't seem to go over Nicepool's head.

He gave both you and Logan a nervous look, you could only reply with a sigh before you nudged Logan with your elbow, nodding towards Wade and the dog.

He sighed before standing up and walking towards the two, "Jesus" He muttered under his breathe.

Wade catching on quickly turned away, trying to run into the corn maze, being met with clear failure. "No! We're running away!"

You shook your head in disapproval still leaning on the car, "Give me that." Logan said grabbing the small dog from Wade's arms.

"We were so close girl" He tells Mary Puppins before she is given back to her rightful owner.

Logan handed Mary Puppins back to Nicepool, which then let him get into the car, while Wade slowly entered as well, clearly upset he wasn't able to take her with him. You got in as well, in the backseat of the car, giving a small wave to the little dog and her weird happy owner.

Logan started the car and began the long drive, giving you a little time to rest. Shockingly Wade didn't really speak much, until Logan got to the forest.

"Okay, I'm just gonna ask," Wade started off with, you slowly opened your eyes, still leaning against the window, your arms crossed as you listened in, "What's with the suit? First thing I did when I flamed out I took mine off."

"Drop it," Logan warned him.

"It's not that ugly,"

"Stop talking about my suit."

"Did you make it yourself? Been there."

"Quit. Now."

"The X-Men make you wear it? Those sons of fuckin' bitches. They are not your friends I'll tell you that!" Wade was not getting the hint at all, Logan looked as if he was about to burst, "Friends don't let friends leave the house looking like they fight crime for the Los Angeles Rams."

Logan replied snappily, not even looking away from the road for a second, "Shut the fuck up about this"

"Woah woah woah, watch your frown lines, angel baby, I'm just trying to bond a little bit."

"Yeah, well then talk about somethin' else," Logan let out an annoyed scoff.

"Fine!" Wade hesitantly said, you let out a quick sigh, thankful that Wade realized he should keep his mouth shut. Slowly you began to close your eyes again, hoping to get a little nap in during this ride.

Slowly but surely you drifted off to sleep, the exhaustion of today finally catching up with you. Although the peace wouldn't last long.

You had at least 15 seconds of nap time before the cars sudden stop made you hit your head against the back of Wade's seat.

"Ow!" You exclaimed, grabbing your forehead in your hands, Logan glanced at you, a glint of what you could only assume was worry evident on his face, before he turned back towards Wade.

"What do you mean if?" Logan's voice was raised, mad at whatever Wade had told him during your 15 second nap.

"I mean-"

"You lied to me, you don't have a fucking clue of they can help me fix things do you?"

"No I mean-" Before Wade could even finish his sentence Logan had let out his metal claws, digging them into Wade's leg.

You jumped back, a look of fear on your face, not worried that'd they attack you but that you'd get caught in the cross fire.

"Kid, get out of the car, now" Logan said, not even looking at you, his eyes stilled fixed on Wade. You knew you didn't have to listen twice, you quickly unlocked the door and jogged over to the thickest tree, hopping to use it as protection as the two men fought.

You thought the worst of it was over, you'd heard them yell a bit and assumed it was over once it went quiet but before you could walk back up to the car you saw Logan get thrown out of the car, that right there was your sign this would be an even longer day then it already was.

You watched for a bit before ultimately sitting down against a nearby tree and deciding you might as well take that nap now. You covered your ears and slowly drifted off to sleep.

You began to stir awake when you felt some arms around you and you heard the car turning on, but you assumed it was just one of them men thinking it was best to keep going on with the journey, so you put aside that thought and went back to sleep.

Until you suddenly were jolted awake by the sudden voice and quick movement of Wade, yelling what you assume was Thor.

#wolverine #deadpool #deadpool and wolverine #x reader #deadpool 3 #wolverine x reader #deadpool x reader #x men #marvel #logan howlett #wade wilson #teen reader #superheros #nicepool #mary puppins #dogpool

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cephalofrog · 9 months ago

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been playing rain world and thinking about saint again recently

full rain world spoilers below

I hate the "saint is the triple affirmative" interpretation. hate even more how it appears to have become the accepted truth in the fandom

first off, my dislike for this interpretation is not logical. it isn't something I can be convinced out of using canon evidence, because my reason for not interpreting the story this way is not evidence-based, it's because I don't find it to be a satisfying conclusion to the entire story of rain world.

but here's some rambling about logical reasons why it doesn't make sense anyway

if saint was created as the triple affirmative by sliver, that makes them extremely old - they came into existence LONG before spearmaster's campaign even started. if they came into existence with the purpose of ascending iterators, they sure took a long time to ascend any iterators - like okay, travel time and whatever, but you'd think they'd get at least one or two more before all the iterator comms break down entirely post-spearmaster. SM and hunter managed to get from SRS and NSH to the pebbs/moon area pretty quickly.

they also have fur, which seems to be an adaptation for the cold judging by the lizards in the campaign, despite the world not being cold at the point at which they were created. this could be easily explained by sliver just being very forward-thinking, but...

if sliver created saint, their entire triple affirmative thing comes across as incredibly thoughtless, which imo contrasts with sliver being forward-thinking enough to make saint immune to cold. like they finally created the magical rat that will ascend them all but didn't even think to send out a message beforehand like "hey guys I'm trying something new if I send out the triple affirmative and die right after this it worked and you should be visited by a flying green dude with an ascension beam at some point in the future"

there's also the thing of... wait so how does this whole iterator ascension work again? cause saint's timeline loops. after they ascend, they end up back in sky islands, with the iterators back where they were. this could be explained by "later playthrough loops aren't canon and pebbs and moon are ascended if you got em" but there's literally a specific gameplay mechanic - carrying stuff in your stomach between campaigns - meant to make it clear that the campaign is a loop.

anyway. the real reason I hate the theory isn't related to any of this - it's that it absolutely destroys pebbles and moon's story, thematically speaking.

sliver of straw's triple affirmative/death is a random event that could mean basically anything. the futility pebbles felt around trying to solve the great problem caused him to assign meaning to sliver's death that wasn't necessarily there - they found the solution, and it was self-destruction. that's what they were trying to tell everyone. it wasn't a random event, the triple affirmative was real. one of the bugs in the maze found the way out, and he's going to prove it to everyone by following them and escaping.

and that's what leads to the events of the main story. this random event - this horrible tragedy, the death of someone who seemed to mean so much to so many people - was assigned meaning by someone desperate to prove that his entire existence, and the existences of everyone around him, are not futile. the ancients created the iterators without knowing whether the answer to the great problem could ever be found, and this is the result of that.

a nihilistic, hopeless person, abandoned by his creators to work forever on an unsolvable problem, assigns meaning to a random tragedy, and tunnel visions on what he has to believe is what he's been looking for - because it is an unimaginable understatement to say that the alternative would be worse than death. and then, in his self-destructive desperation, he kills his sibling* and dooms himself to the slowest, most painful death imaginable. this is the legacy of the ancients' dead society, the result of all of their stupid ideals and obsession with karmic perfection. (*as far as he knows)

but saint being the triple affirmative undermines all of that. not only does it make sliver's death less of a tragedy and more of a noble sacrifice - like yeah, sure, they were loved, but solving the great problem was far more important - but it also makes pebbles look less desperate and more just kinda stupid. like you thought that the solution was self-destruction? nah, it's a magical flying rat. in this version of the story, pebbles wasn't striving for something that didn't exist, he was just not smart enough to figure out the real solution.

even outside of canon evidence, that sucks. it causes pebbles' story to go from being about how you should value the people around you over the impossible striving that life always seems to expect from you or you're gonna end up hurting them and yourself to how you should just be smarter to find the right solution to all of your problems.

anyway as for my own interpretation of saint, I think that the campaign is just a representation of what it's like to be an echo. reliving the moments that led up to your failed ascension over and over, reaching maximum karma and gaining superpowers because you're just that karmically pure - you are a saint, after all - and then letting your ego consume you at the crucial moment of ascension, over and over again, cycling into infinity. (I don't think they actually had superpowers prior to ascending, I just think that they kinda thought of themselves so highly that they thought they should have those powers.) then contrast this with the world as the age of the iterators and the rain finally ends, and you have an unchanging echo reliving the same few cycles over and over contrasted with a world that is, at last, changing and moving on.

yeah it doesn't make sense with the joint iterator dialogue in rubicon (at least, the final line doesn't make sense). I don't care. it's what makes me happy as an interpretation. you can pry my morally dubious hypocritical ego-driven saint from my cold dead hands

#rain world #long post #maybe I should make a tag for long analysis posts #for someone who cannot think I sure do like overthinking stuff

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a-blog-for-kat · 5 months ago

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DRDT CAST ALPHABETICAL ASSOCIATION NUMBERS AND THEIR MEANINGS

IE; Ace (1), Arei (2), Arturo (3), ect.

DRDT SPOILERS AND KAT RAMBLING ABOUT NUMBERS BELOW!! BEWARE!!

1 - Ace is the first name alphabetically in the DRDT cast first name wise because "Ace" means number one, or to be the best at something. Ace is also the first “normal” person on the cast list website, as Teruko is first (protagonist) Xander is second (Support) Charles is third (Antagonist) but Ace is fourth without being extremely tied into the story at this point. It also can signify confidence, something Ace shows in chapter one a little but eventually it got overtaken by just anger and fear.

Edit: He was also the 4th person to die!!!

2 - Arei is number two in the cast, she's the ch2 victim, second person to have her sobbing session before dying (Xander didn’t cry a shocker), or maybe she'll always be second place compared to her sisters, which she has two of? If my memory serves me right (Future Kat here, it does), she’s also the second shortest of the cast after Eden, according to the new biometrics.

3 - In more religious settings, the number three can represent perfection and completeness, which for Arturo is ironic since he doesn’t even have a complete design shown, as we haven’t seen the whole him, only most of him physically (in the sense of we don’t know what his whole face looks like, only the upper part.) Three also represents problem solvers and people who are optimistic in nature and can also be childish. Not like Arturo, but maybe Felicity as she’s three to four years younger than Arturo?

4 - Funnily the first thing that popped up was “earth, wind, water, and fire” so CHARLES IS AN ELEMENT BENDER /j. On a serious note the number four can signify stability and strong foundations. Knowing a little bit into Charles’ backstory (his family spoiled him, he was quite sheltered, he doesn’t remember anything about his brother) he probably had a “stable” homelife until Elliot died, ruining that stability and basically crumbling his foundations, even leading him to gain hemophobia (the fear of blood) and necrophobia (the fear of dead bodies/corpses).

4 cont. - Another meaning to the number four is hard work, which Charles is constantly shown doing. He doesn’t half-ass anything, hell he works as hard as he can to reach his goals. He is the reason the students haven’t absolutely gotten their asses killed yet this trial since he called out Teruko’s wrong.

4 cont part 2. The number four is also a bad omen in East Asia, commonly associated with death. Now, Charles might be Latino, but someone else he's heavily associated with, Whit, is Chinese. Even in the LGI MV, Whit has tetraphobia as a word assigned to him, which is the fear of the number four, possibly hinting to either Charles' or Whits death in the near future.

5 - The number five can symbolize freedom, curiosity, and change. Let's start in order with these three examples, David doesn’t have freedom over his branding and basically his entire public persona. It’s been crafted by his manager to show to the world, the only reason he even was able to escape it was because his secret of being a “manipulator” got revealed and he just had to drop it. There's no point in keeping it up, after all. Curiosity is a bit tricky, but it could mean that he’s curious as to why people do the things they do? Why don't all of them don’t even try to understand Xander’s true intentions with why he stabbed Teruko. Change, well, his entire ideology is “people can’t change.” He believes you’re born either a good person or bad person, and that’s how you’ll stay. If you “changed” you were always a good or bad person to begin with.

5 cont. - One more thing, David’s association with stars, which have 5 points. But all stars burn out eventually, so maybe this symbolizes how David was so burnt out from keeping his public persona that it “died” and the real him is out.

6 - The number six can represent trustworthiness, lovingness, and sympathy. Eden is very trusting, that's actually her entire theme, being very trusting towards others and trying to show Teruko that trust is good. Eden is a very loving person in general, she loves others quite a lot and her secret revolves around kissing a girl, most likely with feelings involved in that. And sympathy. She's a sympathetic person in general. She's basically the glue that holds the cast together.

7 - The number seven usually signifies luck in many modern cultures. It can also signify indecisiveness, which is shown when Hu defends Nico in the class trial but is extremely condescending towards Arturo, even though they have extremely similar situations. (I am not defending either Arturo or Nico, they were both in the wrong for their situations.) It can also be associated with moodiness, which is very much shown in the last two episodes with Hu snapping multiple times.

8 - The number eight can signify being straight-talking and blunt, which we see in J quite a lot. If he doesn’t like something, he’ll state it. When Arturo’s being a creep towards him, he’s justifiably mad and has said multiple times that he wants to be left alone. When he tried to use the remote on MonoTV in episode 4 of Chapter One, he stated that, at the very least, he wanted it to die. He’s also pretty confident, I mean, look at the remote scene. He’s very clearly confident in what he can do.

9 - The number nine can signify humanitarianism and compassion, both things Levi can lack. He’s, at the end of episode 12, revealed to be a remorseless murderer who holds no guilt for his past actions. He is also shown to not know how to feel emotions like grief in situations and even consults Eden about it.

10 - The number ten can mean someone who’s ready to take a new phase in life, this could mean Min was ready to die for Teruko to take a new phase in her life, aka becoming much more untrusting and throwing her into that negative arc. It can also signify order and law, something Min might’ve studied. Also the number ten is a Pythagorean symbol, perfection. Something Min aims to become. Perfect.

11 - The number eleven can symbolize spiritual journeys which….. Unless Nico is going to have some form of spiritual journey, I don’t think this could pertain to them. But it could also be just a journey revolving around their character, becoming someone who’s not afraid to speak their word.

12 - The number twelve is associated with the heavens but can also be cosmic order and perfection, something you strive for as an artist. Being perfect. Which is also a good representative of Rose’s memory, it’s perfect, she won’t forget a detail. But that’s also her downfall, if she sees something awful it won’t leave her memory.

13 - (Has spoken about 13 in the past. Read here.)

14 - The number fourteen can signify new beginnings, a fresh start, and harmony. The last one being ironic as she usually only brings chaos and destruction. New beginnings could mean her using her talent as a new beginning or new outlet instead of hurting herself (if that really is her secret) and a fresh start could mean her starting anew in this killing game? Or even her getting a character arc in the future, though I doubt it.

15 - The number fifteen tends to be associated very sensitive and caring individuals who prioritize the well-being of others over their own. Which can be applied to Whit in a sense, he puts others feelings over others in situations, like trying to make Teruko smile by sacrificing Charles’ dignity. He’s also just a very caring person in general, as it’s shown how he comforted Charles in Chapter One (Sibling Core) or Eden in Chapter Two. Another thing could be how all luxury is in life, Whit seemed to live a relatively normal life before his mother passed, but still tries to make the best of life and make it a luxury.

16 - The number sixteen is a number associated with karma, what goes around comes around. Xander, stabbing Teruko, has done a bad thing, therefore paying with his life. It could also signify pushing others to their life purposes, Xander, after stabbing Teruko, pushed her to her “purpose” of being a cold protagonist. It can also mean a smart mind but Xander isn’t that smart to be honest-

TYSM FOR LISTENING TO MY RAMBLING <3

#drdt #danganronpa despair time #despair time #drdt rambling #i am not tagging all of them

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treasure-mimic · 3 months ago

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Psychopomp and What Things Mean When They Don't Mean Anything

So if you haven't noticed or you don't follow me, I recently became interested in a small, one-man dev team indie game by name of Psychopomp. As a brief synopsis and pitch, Psychopomp is a game about a woman who seemingly suffers from paranoid delusions, through the lens of this narrator she tells us that there's a labyrinth of catacombs hidden underneath every public building and sets out to explore them to uncover the world's secrets, armed with nothing but a store bought hammer.

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The game's intro puts it in words better than I could and more influential than any pitch is just seeing the protagonist's design.

As one commentator states, she looks like a skateboard mascot from the mid-2000s. Like she should be on those posters with a snarky quip just fucked up enough to catch those pearl clutching puritans off guard. I love the style and I love the tone and I love the premise.

This might be the best time to note that if you're interested in playing this game, you should stop reading here, as this discussion will contain spoilers. It's a short game, took me about 3 hours on my first playthrough, and it's pretty cheap, even has a free demo in the form of the base version with Psychopomp Gold serving as the expanded, completed experience.

Anyways.

I've always found conspiracy theories fascinating but in the modern age it can be hard to immerse yourself in these reality-detached belief systems without acknowledging, you know, the racist dogwhistling and tangible physical harm it's causing to society at the present moment. Psychopomp is able to pretty gracefully sidestep this issue by setting its anarchic anti-government sentiments against its protagonist's paranoid delusions rather than adherence to a faith or belief system.

Indeed, the game seems to take systemic beliefs as its central enemy. The entities that are necessary to kill to progress through its levels are defined by the systems they interact in, historical figures of elevated status, keystone positions in industrial manufacturing, even abstract systems like urbanism and DNA composition are posed as societal and oppressive. I'm not saying that there's no way to interpret the game in bad faith and make it directed at marginalized social, political, or ethnic groups, but I also struggle to imagine the person who takes the game literally on its face value?

Which I guess leads me to the main topic I wanted to discuss. The game very obviously has an unreliable narrator (for the record, the protagonist remains nameless for the bulk of the game, I will be referring to her as Venus as it's the closest she has to a name that's explicitly stated within the text itself) with the flavor of one whose intake of reality may be different from what's actually occurring. The game uses a combination of conspiratorial rambling and dream logic to stage its unreal tone; for example, one level delves into the "biology" of buildings, stating that they use graffiti to communicate and that black mold is a pheromone used to evacuate its inhabitants to allow for mating. Loading screens come with "Gameplay Tips" and "Real World Tips", both of which are often dense and inscrutable; for example you might get a pair like "Not all enemies are friends" and "Viruses do not exist. Illness is simply your body punishing you for what you've done wrong."

Surrealism and unreality as stylistic choices can be a bit of a tightrope walk to get right. On the one hand, if you make it explicit that a story takes place in a state that did not happen even within the story's universe, a dream or a hallucination, it can rob the narrative of its stakes, regardless of how well executed the internal metaphors are. Psychopomp very explicitly does not do this, regardless of what it is that Venus is experiencing, the game makes it clear through scientific logs and communications (as well as a brief epilogue set outside of her perspective) that something abnormal is happening, the question is just where in between normality and Venus's experiences does the truth of the game's narrative actually lie.

The other side of the tight rope is literal interpretation, presenting a setting that's absurd to our sensibilities but tangibly explainable, where meaning is supplanted by lore and the cosmology begins to solidify into a set of Calvinball rules that don't make sense, but are still adhered to, and this is the side Psychopomp threatens to lose me on. There is a credible argument to be made that there is no difference, that what Venus is experiencing is her reality without warping and distortion, it's a more credible argument than saying she completely fabricated all of it, and it's an argument I was starting to wonder wasn't the intended interpretation. Until I got the game's second, secret ending.

Psychopomp has one collectible that doesn't serve a direct gameplay purpose, but each catacomb has a key hidden away, often behind false mimic walls that bleed and scream when you hit them with your hammer, and which unlock new rooms in the only permanent location "Home". Initially a gray, cubical, concrete room with a single mattress and a small table with a radio on it, collecting keys allows you to further explore outside(?)/within(?) the home with a unique camera perspective and limited interaction. In the first layer there's a blob man who cries out in torment, demanding to know why you specifically made the world like this, giving some credence to the deification of Venus implied by the game's ending. In the last layer, Venus traverses underneath and past her own brain to unlock a repressed memory.

I take this as confirmation that there's some level of abstraction at play here. Under scrutiny it feels as though there must be some level of abstraction at play here because when taken as a whole, the conspiracies start becoming outright contradictory, even if you try to take the cosmology at play as fact, which are the closest thing to objective facts that we have.

See, Venus's perspective takes place an alternate Earth, one that both seemingly was broken off from the planet and now orbits it like a new moon but also has always existed. One of the locations is a natural history museum which explains the history of sentience on this counter-earth, humans rose, went extinct, were supplanted by a species called the thrait, then humans returned in a mutated form and retook the surface and forced the thrait back underground (though the museum also refers to the thrait as extinct despite being the most common friendly NPC you will encounter). Another location seems to imply that the humans of this world, or maybe only some of them, are artificial clay creatures, reinforced by the arbiters of the DNA factory too being clay alleles. The Human Seedbed even has the game's most effective jumpscare in it, where Venus cannot leave the area without being confronted with a jittering clay facsimile of herself.

But with that in mind, what the hell is Venus then? By no account is she one of these artificial clay people but then how did she get here? The game's introduction implies that she used to be a normal person, or at least closer to, with lived experiences inclusive of complete ignorance to this underworld, the game's endings imply that she's an immortal god-being who has been intentionally working towards her own reawakening, and that is actually one of the least ambiguous plot points within the narrative. None of the pieces of this world lock together to form a cohesive vision of a setting that operates on even the barest of internal rules, and yet the game in the same step refuses to be a character study or subconscious examination, I mean the epilogue is a damn sequel hook that involves assembling the damn Avengers to combat the ramifications of the events of the game.

So, I come to realize, I'm the problem. I might, in fact, be thinking about this too hard.

One of the locations in the game is called "Daddy's Bad Place". It is a single, tiny room of a house or apartment, frozen in a moment of tearing itself apart, that only contains a dusty old TV set with a small, pointless ornament sitting on top. In any other surrealist game, this isolated circle of clarity, a compact orb of recognizable terrain, would be a moment to deliver one single jolt of reality into the metaphor of the protagonist's journey through their own subconscious.

In Psychopomp the TV turns on and delivers a distorted warning about a giant insect which is deadly, deceitful, and above all, not real.

In Daddy's Bad Place I come to realize something. The lore is fake, the characterization is fake, the dichotomy of truth and delusion is fake, the insect is not real. Let's think about what I'm doing here for a moment, right? I'm trying to discern the truth from within a work of fiction. None of its true, none of it happened, what difference does it actually make?

The thing about conspiracy theories is that they don't make logical sense. It's a known phenomenon that conspiracy theorists love to debate, but cannot be reasoned out of their beliefs by facts or logic. There is never a counter, but always a failsafe argument that can be retreated to for safety. What conspiracy theories do make is emotional sense, they make narrative sense. The line that initially sold me on Psychopomp was one of the aforementioned loading screen tips, "All the food you've ever eaten is rotten. You have never tasted fresh food."

Patently false statement, does not hold under scrutiny, but I, as someone who lives in America and lives in a city center and has to get all my food through corporations, can look at a statement like that and say yeah. Checks out. I believe you. We would know if children were being smelted into egg slicers underneath public schools, but it resonates with our emotions about the systems of education we enforce upon children, so it could be true. We would know if buildings were a living, reproducing organism, but it resonates with the feelings of being born into a world where urbanism exists, has existed as permanent fixtures of the world, and is continuously encroaching upon the face of the world, so it could be true.

Anyone who understands the fundamentals of incentives and human psychology does not need to believe that there is a coordinated group of ontologically evil individuals driving the world to ruin for ruin's sake, but that narrative still feels true, it becomes validating in the ways that it plays off of the emotions of believers until it becomes a foundational pillar of belief that cannot be destroyed by logical contradiction.

Psychopomp, in the same way, presents information about its internal systems that cannot be true logically but form self-justification anyways through emotional resonance. It doesn't matter if the lore works because its stated, it isn't wrong, so it must be a truth. This is the way that Psychopomp emulates the unreality of the conspiracy theory in a way that can avoid the disturbing implications of the real world practice. I've made comparison to surrealism by dream logic and surrealism by internal self-reflection, but this is a different mode entirely and the game simply refuses to operate by those tropes at its core. Conspiracy is itself contradiction, not the soft contradiction of two halves of a dream that don't lock together, but the hard contradiction of attempting to apply emotion and narrative to a waking world that rejects either premise. Psychopomp, then, is surrealism by way of conspiracy.

#Psychopomp #Psychopomp Gold #Psychopomp Game #Narrative Analysis #Long Post #Youtube

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nadas-dirthalen · 3 months ago

Text

A Veilguard Achievement Icon Opened My Eyes on 15 Years of Lore... but Was I Right?

PART ONE: Rambling First Impressions & Overview

[ 2 ]

Hello again, friends and travellers. Now that I've beaten Dragon Age: the Veilguard, I wanted to go through all those 30,000 words of predictions that I wrote in the ~11 days leading up to its release. I'd seen an achievement icon that pieced together a lot of Dragon Age lore for me.

But, I hadn't played Veilguard. All I had was the footage from September 19, the achievement list, and anything else BioWare had released.

So... was I right? And if so, how much was I right about?

This is your warning: This post will contain spoilers for the entirety of Dragon Age: the Veilguard, and all Dragon Age content made before Veilguard.

(no, this screenshot isn't a spoiler, I just like it.)

Welcome Back for Round Two. >:)

Stating right off the bat: I have only played Dragon Age: the Veilguard 1.5 times and so this collection is very, very incomplete. There's no way for me to learn every codex before they're even all on the wiki. If I've missed something, let me know!!

I don't know how many parts this is going to have. This has been a very fun, but very sleep-deprived week. Expect no sensible organization here; we're letting the ADHD reign!

That said, here's what I'm going to attempt to do:

A Recap of My Grand Theory: Solas was the Blight's Beginning, and Mythal was Responsible

How I Made My Predictions: A Study in Context and Pattern Recognition

What Did I Actually Get Right? (An Overview, Anyway)

Early Signs Veilguard Added to My Theories

A Recap of My Grand Theory: Solas was the Blight's Beginning, and Mythal was Responsible

I really don't have space to go in depth on what amounted to 30,000 words of theorycrafting (which still boggles my mind, how did I do that and still find time to sleep). Instead, I'll link every post and make a bullet point list of what big guesses I made in each.

Part One: Solas was created from spirit and lyrium, crafted in one of Mythal's lyrium coffins that we see both in the Temple of Solasan and Trespasser. That means that some part of him was part of a Titan, once. There were hints about this across all three preceding games, and these hints re-contextualize those games and their place in the Dragon Age narrative. The Titans are likely the Forgotten Ones, because Fen'Harel walked among both the Forgotten Ones and the Evanuris in his legends.

Part Two: The Mythal lullaby in Trespasser is the story of Solas' creation, specifically. Da'durgen'lin refers to 'little stone boy.' Solas' twice-used phrase Ar dirthan'as ir elgara, ma sula e'var vhenan is him speaking to lyrium itself, which he does both with Sera (ancient elvhen? andruil memory? people go into more depth on this than I ever do) and the Eye of Kethisca. Elven phrases and pieces of writing/song from everywhere point to Solas' backstory and are all possibly written/sung by Solas. The codices in the Temple of Solasan are also referencing his backstory. There is a larger narrative at work happening in the random elven literature we find, and it suggests a lot of things about the world.

Part Three: The Titans are definitely the Forgotten Ones—at least, part of them (more on that later). They have all been sundered. One part remains in the Abyss; the other in the Fade. The Fade, in fact, is every Titan's consciousness, all sundered by Fen'Harel. This is the "leg" that the wolf chewed off to "escape the trap": Solas' connection to ir sa tel'nal, isatunoll. This is why he loves the Fade: he's reconnecting with the consciousness he broke himself apart from. This is also why he has Titan/Stone magic. This is also why lyrium grows both in the Abyss and in the Fade.

• Oh, and spirits seem like they might be the thoughts of Titans.

Part Four: The Chant of Light tells the story of the Evanuris, from their manifestation as spirits to their mining of lyrium and war with the Titans to the Makers' creation of "everyone else." The archdemons and Magisters Sidereal are also explained in its verses. The Chant also suggests the Maker is a Titan whose mind and body are sundered, and that Andraste's hearing the "voice of the Maker" is her hearing the Titan's song.

Part Five: The tragedy of the Evanuris, part 1/3: Mythal is known to have mined people from lyrium. Elgar'nan probably sundered spirits, notably Dirthamen and Falon'Din. Falon'Din seems to have wanted to attack Titans that "belonged" to other Evanuris to gain more "worshippers" (lyrium people; slaves) for himself.

Part Six: The tragedy of the Evanuris, part 2/3: Sylaise probably made the Scaled Ones. June probably is responsible for not just lots of inventions, but the invention of the geas. Dirthamen's "secrets" are "thoughts" (spirits) forced into the bodies of his worshippers... and animals... and trees (AKA, he made a lot of abominations).

Part Seven: The tragedy of the Evanuris, part 3/3: the blight seems to be the Titans' defence against repeated attacks. Crucially, all of the Evanuris made the Titans this way... but Mythal made them that way first. The reason the Titans are "forgotten" now is because Mythal tried to erase all memory of them so that none would find the blight again. (She failed. Thanks, Andruil and Ghilan'nain).

Part Eight: The story of Solas, part 1/3: Solas came from an un-sundered world where both "mage magic" and "Stone magic" were the same thing. He was created in the Temple of Solasan, where "icy terror" became the first blighted Titan. Solas' existence was significant to the Evanuris because it suggested that one can survive the blight, and his moniker (the Dread Wolf) comes from the fact that he was a wolf (elven general) that came from the terror Titan (dread).

Part Nine: Since Solas' origin story is the start of the blight, then all of Solas' story from that point is not the story of just him, but the story of the blight. This signifies his place in Dragon Age's entire narrative, and also spells out what the overarching Point™ of the series is. Backed into a proverbial corner where none of the Evanuris would stop the things that angered the Titans, Solas' only choice was to sunder the Titans from their consciousness. He misses the Stone, also.

• He also imprisoned the Evanuris in Stone, something called "gangue" in Hissing Wastes codices.

• His ultimate goal is to return consciousness to the Titans, fixing the "wound" he made when the Veil went up.

Part Ten: The Inquisitor is special because their spirit is from the same Titan as Solas. The Breach is a threat because if the Veil comes down too soon, all the Titans will come back blighted and angry. The Veil disintegrating means all the Titans are waking anyway, little by little. The Dread Wolf shape is actually an aspect of Terror that can kill people with fear. The Evanuris who've been killed before have potentially had their spirits "recycled" and might be reincarnating into mortal people now. Oh, and a bunch of predictions on the companions, Solas/Mythal, etc, that I'll go over again down below.

How I Made My Predictions: A Study in Context and Pattern Recognition

I've had a lot of people ask how I... y'know. Did that. How one person could write 30,000 words of guesses in the week and a half before Veilguard, citing so many sources, and... not be that far off, probably.

Honestly the short version of this is, "I read the Chant of Light as it appears in World of Thedas, not with the canticles out of order like they are on the wiki, has anyone else done that?"

The longer version of this sounds even shorter, at first: I started playing Dragon Age games in March 2024, and I have ADHD.

Oh, and I'm a writer who's always been interested in game development, with dreams of maybe one day working in games or on video game IP. That helps shape my understanding of what games might need to accomplish, narratively, and the mechanisms they might use to accomplish those goals.

I was able to play all three games this summer. In fact, I finished Inquisition for the first time after Veilguard's first trailers this year, on June 26. What that means is that my first real experiences learning the finer lore of Dragon Age were all this year, and had the context of Veilguard's trailers. We knew we were getting a narrative followup to Trespasser, and so where did I center my focus? Trespasser. Everything I learned about Thedas, I tried to make sense in the context of Trespasser. Every piece of lore had to fit with Trespasser. Not just the environment of the Crossroads or the companions' banter, but what Trespasser was trying to teach us.

And most of its codices are about the Evanuris warring with the Titans. The Titans, who we'd just seen in Descent. The storytelling point of Trespasser was to make us question the nature and morality of Fen'Harel by giving us context about the Evanuris and their own history, then letting us ask for Solas' perspective on it.

That's the thing about Dragon Age. Very little of it is there pointlessly. Every level, every DLC, every codex, is there to teach you something. Even the smaller codices, which don't seem to mean anything tremendous, are there to teach you how to parse the voice of all the other codices. So even beyond the games, I asked myself: what is Tevinter Nights trying to teach me about how Thedas works? What is The Masked Empire teaching me? Is it the same? And what about World of Thedas, volumes 1 and 2, written from the perspective of Thedosian historians, deliberately written to misdirect the reader with the historians' biases?

Whatever I found had to work with what was promised in Veilguard: a controversial Solas. New understanding of the Evanuris. Harding's new magic. Regions of Thedas we never explored, and why those places would all matter.

Knowing the three act structure, as a writer, and knowing that ensemble casts all need to bring a puzzle piece of the grander theme into the main plot through their own personal quests, I had a vague skeleton of what I would need to find. The shape of the information I found would have to fit the world and the relationship dynamics advertised in the Veilguard. Origins would have to matter to the Veilguard; same with DA2; same with Inquisition. Despite the series being disconnected by featuring different leads, the worldbuilding is very much connected between instalments, and so Veilguard would have to be one logical step past everything that developed in Inquisition. (Nevermind a whole host of other criteria that honestly deserves its own post).

It's very hard to describe how the pattern recognition in some ADHD brains works. What I will say is... I noticed something. Every mistranslated elven codex where it deliberately says it has been mistranslated is an invitation for you, the player, to try and figure out what is correct. Everywhere that World of Thedas says that something must be preposterous to the historian narrating it is an invitation to ask yourself: could this be possible? How would that work?

Things like the linguistic overlaps between the elves and the dwarves are intentional. Words that are phonetically similar are far more often intentional than simple oversight. Every scrap of lore holds some significance.

Because in Thedas, every perspective is right, to some degree. Including the Chant of Light. Including ancient elvhenan. If you try and make them all reconcile with each other, and you've also done so in the context of the Veilguard, and you've also got ADHD and a near-photographic memory that is strongest with emotional memories and rules/systems? Well... You get me. You get 30,000 words of "one single picture of lyrium-spirit Solas cracked all of Thedas for me in the span of one mind-blown week while I power-read World of Thedas to check all my facts and essentially lived inside the Dragon Age wiki."

(AKA, you get Bellara in human form. Sorry, Bellara. It's rough out here. But now you, reader, know the reason that this blog was renamed nadas-dirthalen in late September—and why I, when I embraced my nonbinary identity, chose the name Lore for myself.)

And what was promised in Inquisition, as well as in Veilguard's marketing? The Evanuris, Titans, and the blight. They would all have to tie together—and they did.

What Did I Actually Get Right? (An Overview, Anyway)

I'm going to try and categorize this. Oh god. These are going to be such disorganized posts, but I want them done before much information comes out, so bear with me.

What I Got Right:

Solas and Mythal: Yep. He caused the blight; she made him do it. He created the Veil and wounded himself. They weren't romantic; they were trauma-bonded. She wasn't a paragon of good. They both tried to stop the blight anyway.

Sundered Spirits: The sweet, sweet vindication of learning that Dirthamen and Falon'Din were sundered all along. Thank you, BioWare. We also learned that this happened to the Titans (more on broader implications in the last category in this section).

Titan Stories In Elven: Bellara sang "Ir sa tel'nal Mythal las ma theneras" and my heart soared. :) My ego swelled. :) That's all the confirmation I need right now that I hit the nail on the head with the elven lullabies and Solas' backstory.

The Chant of Light Told the Story of the Evanuris: The demons that would be gods. We know now that all the Evanuris manifested physically from their original spirit forms. The Chant called it.

Mythal, Andruil, and Ghilan'nain's Roles in the Blight: Mythal created it, but wanted it sealed away; Andruil found it again; Ghilan'nain made it grow and grow.

Taash, a little? I hypothesized that fire-breathers might come from the Scaled Ones or otherwise have been engineered by an Evanuris. I know they were engineered for the purpose of war, but not by whom (I... think. Needs a replay to confirm).

Davrin: Yes! Davrin was the one who connected that Solas feels responsible for specifically the blight and conveyed that to the rest of the team. He questioned the nature of the Grey Wardens and helped to choose a path forward without any archdemons left.

Harding: Yup. Titan connection. Yup, our narrative path to finding out about angered Titans.

"Do We Win?/Do We Stop the Blight?" Well, in Solas' good ending, we do get what I thought we would: the Evanuris all gone, the Titans on a path to restoration.

What I Definitely Did Not Get Right:

VARRIC?!?! When I said, "If you know, you know. Lyrium dagger, dwarf. If you don't know, close your eyes and pretend you read nothing" — GUYS I THOUGHT VARRIC WOULD GET MAGIC HE REALLY HATED AND I CRIED LIKE A BABY WHEN I SAW WHAT HAPPENED :(

Lucanis: I really thought Spite would be a Forgotten One. However, it's stated a few times that Spite is not a run-of-the-mill demon, and Lucanis is not your average abomination. I wonder if there's banter I'm missing, or if something will happen with that in DA5. Poisoned fruit, and all that.

Emmrich: I really thought Emmrich would do world-changing "give all the spirits back to the Titans" stuff. I think my error with most of the companions is that I forgot how much information actually can feasibly fit into a game without it being 300 hours long or melting the brains of its players.

Neve: Nothin' happened with gangue mentions, or Archon mentions! I was way, way off with Neve.

The Eclipse: It did not have anything to do with the Bird Boy Evanuris™ :( But Elgar'nan moving the sun and moon was badass as hell, and I honestly loved Elgar'nan far more than even my highest expectations.

What I Haven't Gotten Right... YET:

Bellara….?????? Guys I thought there was a Dirthamen connection and they put a codex in the game that says specifically that Dirthamen held a fondness for frogs, same as Bellara. And then they gave her a brother who... ya know... was... presumed... dead... AKA, on the other side of the Veil... for a while... And then they gave that brother a sundered piece of Bellara's own vallaslin. John Epler, where are you going with this please I wanna KNOW, the Bird Boys™ occupy my mind at all hours. (But also? Surprise Forgotten One mention with Bellara, and surprise Anaris mention specifically, and I'm going to pat myself on the back for being so oddly focused on Anaris in my predictions.)

Chant of Light Confirmations: I actually have yet to see a single Chant of Light verse in Veilguard. I think they're saving that one for later, keeping it up their sleeves for the next games. The needle didn't move with confirming/denying anything in the Chant except for the Evanuris as spirits that manifested into physical shape and then sought to conquer the Titans.

Titans-as-Forgotten-Ones: For a time, I thought they disproved me on this, showing Anaris as a spirit, the "eighth" while the "sixth and seventh" roamed free. Showing Anaris craving a body to wreak his evil (?) machinations upon the world. But then I got to thinking, and I realized: they never said the Forgotten Ones are spirits, they just showed one being a spirit. What did they say about spirits in general, or the Titans' relation to the Fade in general?

Titans-and-Fade Connection: I theorized that the Titans' consciousness is the Fade, and the Veil is what keeps them all sundered. I theorized that spirits are thoughts, either floating around in the Fade or held in lyrium. For a long time in Veilguard, I thought I was being disproven. Solas' memories don't say that the Veil sundered all Titans, and they don't say that Titans' consciousness is the Fade, either. But, as I went through Veilguard, I realized... they also didn't not say it. And that's when I knew.

I have to go digging again. And after 8.5 days, here's what I think I've got. It's a start, but a promising one.

Early Signs Veilguard Has Added to My Theories

Remember how I said that there are very few in things in Thedas that are there for no reason? Well, Veilguard has given us plenty of tie-ins to previous material already, just with the stuff I remember off-hand from the past week, no wiki entries to go by yet.

(Please bear in mind that I have had this game for 8 days and this is just barely scratching the surface of its content!)

Let me re-examine some of the things I mentioned above:

Titans-as-Forgotten-Ones

The Nadas Dirthalen's very first word is Sulahn'nehn. Remember how I said many things in Thedas are there intentionally, and that World of Thedas is a book made up of invitations to solve puzzles? This is no exception. World of Thedas states that, translated literally, this common word for "rejoice" actually means "sing again."

That word might be a rallying cry for the spirits of Titans who'd, I don't know... lost their song. A promise of plot to come, made a decade ago. Why else would they include that word, instead of anything more frequently used by characters/the fandom?

I also noticed: the Nadas Dirthalen looks to be contained in a lyrium crystal, specifically. We already know that lyrium is used to store memories! It may be that the Nadas Dirthalen, the inevitability of knowledge, was Anaris storing his knowledge and memories in an attempt to pre-empt the creation of the Veil. Nadas Dirthalen might be a promise: a promise that the Forgotten Ones will return to sing again, and that their knowledge and memories will guide them to victory.

But if I was going to hazard a guess that this is the case, I couldn't base my theory on just this line of dialogue.

Titans-and-Fade-Connection

First and foremost: Neve and a couple codices say that Solas' ritual to create the Veil went wrong. We all heard Solas cry out in pain at the moment of its creation!

Second: defeating one of the revenants, whose name is something like "The Slaughtered Pillars," made my ears perk up. I noticed in the combat with the Betrayal of Felassan that the dialogue lines are supposed to be Solas' regrets, given voice.

You wanna know what it says when you fight the Slaughtered Pillars?

"Light and song, stolen."

You wanna know what the Chant of Light refers to the Fade as? Three guesses. C'mon. :)))

That's right! Light! But why would the slaughtered pillars of the earth complain about their light AND song being stolen? Well—I'm guessing that their Light is the Fade; their consciousness. And without their consciousness, their dreams, all concept of isatunoll was lost to them.

When I heard this line, I threw out what I thought I had been told about the Forgotten Ones being spirits, not Titans. Now, I have a new idea (one that still needs verifying and much codex-reading): the Forgotten Ones are those sundered spirits that Solas severed from the Titans. The entire Fade being cut off from Thedas was an unintended consequence that hurt him as badly as it did the Titans he meant to put to sleep.

(We don't even know that he was in uthenera by choice, with how often he talks about being weakened.)

Suddenly, "Sing again," makes total sense as a rallying cry for Anaris and the Titans, both. I very much look forward to digging through the minutiae of every codex to see if I can find anything else that backs this up!

Terror/Horror Mentions

I need to really examine this one, ideally with the help of a wiki that doesn't quite exist yet for this game, to get all the exact lines. But I swear that fear is mentioned almost constantly in Solas' memories, and also a lot in conjunction with Anaris and with Harding's Titan.

I'm not letting go of my "Solas was crafted from Terror/Dread" theory. Not yet. Not yet.

Bellara and the Bird Boys™

I think BioWare's favourite game, at this point, is teasing us with sneaky little mentions of Dirthamen and Falon'Din. In Veilguard, we went to Zazikel's skeleton in the Cauldron. In Arlathan, owls were just... glowing. Everywhere. Why? I don't know! Rook also doesn't seem to know! But they mention it many times over, and that is always a cue for us to pay attention and ascertain why.

I don't know what Bellara's sneaky little connection to Dirthamen and Falon'Din could mean for the two sundered Evanuris. I don't know if it means that I'm right, and that Dirthamen escaped Fade Jail when Corypheus and the Magisters Sidereal entered the Black City. I don't know if it means that, when Dirthamen and Falon'Din died, their spirits fused back together (because... Mythal's didn't?).

I just know that this has worsened how I constantly search for the Bird Boys™ in everything. Something is happening here, I just need to figure out what.

What Do I Think This Means?

I think this means that BioWare are about to make good on their promise shown in the Poisoned Fruit post-credits scene. Dragon Age 5: Something Something Something Forgotten Ones, ooohhhh, spooky, Terror Terror Malice Fear Nightmare Time, Featuring Solas (reluctantly or gladly) Helping Heal the Titans. And did we mention that the Forgotten and the Forbidden Ones have always been more closely linked than most of the fanbase thought?

But I can only guess at that for now, and I've got some serious reading to do before I say anything more specific than that.

-----

As always, if you read this far, you're one of the real ones. This has been a jumbled mess of midnight thoughts, but I promise you this: I'm only just digging into Veilguard's finer workings. I'm only just starting to put its many pieces together.

And like every Dragon Age game, I can tell that there is something big lurking between the lines of every one. I just need to read something like 135 mementos and [redacted] codices from everywhere else several times over in order to figure out what it is.

But this is just Part One. I promise: the second it clicks for me, I'll write it all in a rambling frenzy for you, too.

It's still super up in the air, but I think for the next one, I might try and tackle What Dragon Age: the Veilguard Did Narratively—and What DA5's Story Will Likely Do to Follow. We'll see what happens to me 50, 100, or 200 codices from now. :)

#dragon age #veilguard spoilers #dragon age the veilguard #dragon age: the veilguard #da:tv #da meta #da theory #dragon age meta #dragon age theory #da:tv spoilers

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real-fire-emblem-takes · 6 months ago

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(The following is some rambling, FEH Spoilers ahead if you care)

I hope at the end of FE:Heroes life, that instead of it just becoming a forgotten mobile game, a fully fledged game is made out of it. Because I really do think having a FE game that have shorter Saga's would be really fun to play through. And just how much Alfonse could be challenged in a full game where he can MASSIVELY develop instead of the time strides he's made in the mobile game.

Of corse of a full game they'll need to change several things such as how much of their army is made up of heroes from other worlds. But having this HUGE skeleton with FEH for a full game could make one of the best, if not the best, Fire Emblem main line game.

Like, we have the set up to have Alfonse really turn into his own. He's gets to talk to past heroes and other world versions of those heroes. There is so much he can learn from them all but more importantly, so many people to compare him to. Just feeling like a failed leader because all these heroes that saved worlds are around him, while he's a prince in a world that's currently in a war with his neighboring country.

He keeps feeling this way until he meets the Summoner (Avatar Character). Someone from another world who isn't a hero. They're just an average somebody in that world. Even though they are able to use a Devine weapon that belongs to his family, he fights with them and grows closer as friends. He learns that it doesn't matter name or status, but what you do with your own strength to help everyone you can. And even when you can't save everyone, you can always work together with others to raise you and everyone to the point where you can save more people than you could alone.

While the first two Books of FEH didn't really do much for Alfonse, I do think in a full game they would be able to have a better foil with Bruno through these early parts. While Veronica is a very tragic character, she is more so Shernna's foil through the first book and then becomes a fascinating character through the rest of the books (so far). If the story would follow Alfonse's point of view, it would do wonders to REALLY push that foil with Bruno more and more until that foil changes into irony and tragedy that was played in the later books.

While Book 3 was one of the biggest breaking points for Alfonse's charcter, I really do belive that if Alfonse were to have a stronger written connection with Bruno early on. The death of Bruno would hit harder. We know Bruno and Alfonse were childhood friends to the point Alfonse's first actions we see is looking for Bruno (Under his fake name, Zacharius). Hell, you can make this hurt even more by adding an underlying feeling Alfonse had for Bruno. But seeing as Bruno meant a LOT to Alfonse at such a young age, where he was still getting compared to his father and other heroes. To just have someone that wouldn't judge you, have fun with you, and make you laugh. Most people would devolve some romantic feelings for that. While this seems more fanficy just because "Lead turned GAY for Enemy?!" It's use in a story here would push character development further.

Some of the best stories ever written i've read are about building up the base of a character. Only to destroy EVERYTHING about them. Leaving only their bare core and true thoughts on display. Only for them to either have the story end with such a melancholy finish that it just feels. Or give that charcter a way to rebuild themselves stronger, more ferm in their ideals then ever to change the odds. Alfonse is someone, if given enough time and attention in a full game, to be this charcter. He already has enough set up within FEH for this to become real. He really is burdened by the form of media he's in.

I don't really have any closing notes after that but yeah. Alfonse is actually one of the best Fire Emblem Lords when you think about it. Put him in the next smash game

#feh #fire emblem heroes #story takes #fe #fire emblem

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gamingblur103s · 1 month ago

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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.

youtube

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-

#ntwewy #neo twewy #neo the world ends with you #twewy #the world ends with you #might be forgetting smth #ah well maybe later #i don't wanna include character tags cuz i don't wanna be the fucker that interrupts someone's search for fanart of their fave

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le-panda-chocovore · 8 months ago

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I think the reason for all that discourse in the JJK fandom is that we had some expectations about what this story would be about, and we were wrong. I'd say it was our fault for having them, because Gege had his own story in mind and it isn't our role to tell him what to write/draw. But I'd also say that we were misled into having those expectations and then being deceived, because shock value is fun.

(I'm not in the AOT fandom so maybe I'm 100% wrong, in which case don't pay attention to me. I'm just rambling I'm not trying to make a point)

See there's not such a thing in Attack On Titans. I mean I know people are arguing whether a decision was good or bad or a character development was positive or negative, but no one is rioting the way JJK readers are even when someone dies, kills, or does worse (they do start a genocide lol). Because in AOT you know since the beginning what this story is about : surviving, war, and liberty. With time you learn that it's also about racism, destiny and injustice. But the story starts with death and blood and it never calms down, characters keep dying or getting hurt and no one's safe all along the story. So you just know it'd end the same way, you know what to expect, that power of friendship won't save anyone here.

But Jujutsu Kaisen is different, because it has all the codes of a basic Shonen. Everyone was comparing it to Naruto during the 1st season so you would believe it'd follow the same path. Of course there's fights and fails and suffering and death, because it's necessary for the growth of the protagonist. He'd learn he's not strong enough and he'd try harder and mature more and be better. Jujutsu Kaisen makes you think it's your One Piece-type manga where 1 person dies every 4 arcs and the main team survives everything, even when it looks impossible.

And then Shibuya happens and you're shocked because it's way to early to kill so many valuable characters in a row. Usually that kind of massacre happens during Big War arcs like in MHA. At first you think it's an interesting writing choice because it changes from other mangas, and you wonder how the main character will evolve from that. But then the training arc never happens, because shit keeps falling on them and there's a pile of deads and you start to wonder when it'd stop. Spoilers : it doesn't.

So at some point you realize it. This isn't a classical shonen. This isn't an happy-ending after a hard fight kind of story. There's no power of friendship to save them, there's no important moral path to keep following no matter what (like "I won't do to you what you did to me because it'd mean that I'm the same" no it doesn't work here), and there's not even a chance to run away from that cursed role no one wants to bear. There's no one protecting the kids anymore. The MC isn't strong enough and the mentors are dead and close friends are off-fight and the one person able to end this has to make the horrendous choice to give up his humanity.

In AOT, you were shocked, but it felt logical in the sense of where the story was leading you from the beginning. In JJK, you feel betrayed and manipulated because everything made you think about those other mangas where people ended up fine, but it was just a cover.

Honestly you COULD have guessed it'd end that way. Many people did. You just ignored it.

You thought Junpei's death was an exception, the Major Point for Yuuji's development, the Shock Value Kill to put some depth nuance in the story. But in reality it was a warning, a taste of the future. There WERE signs after all, and Gege never pretended to write another Naruto. You were so used to the classical shonen that you read the signs and fell for the trick.

JJK has never been a nice story from the beginning, Sukuna was at the center of every event since the beginning. You can dislike what is happening but you cannot say it's bad, as in a scenaristic choice. Gege is a writing genius and unfortunately he's also pure evil.

You shouldn't have trusted a one-eyed cat after all.

#jjk #jjk spoilers #jjk manga spoilers #analysis #rambling #jujutsu kaisen manga #gege akutami #jjk analysis #By You I meant Me obviously. I'm the one who got tricked. I'm the one crying on the sideway.#i don't want AOT discourse on this post I don't really care I'm simply spilling my thoughts on JJK

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recklesslycaffeinated · 2 months ago

Note

As someone who is also writing fanfics, I wanted to ask, how do you lay out your plot-? I love your writing, the emotions are so strong and so realistic, but even more so, I love your plot. You have great foreshadowing and even better plot twists. Plus, when you change the POV for chapters, it truly feels like a whole different person, which can be hard (for me) when writing. Do you have any tactics you use/would be willing to share?

Oof, good but complicated question. Particularly hard to answer when you believe plotting is your weak point! Maybe that's why I put a lot of effort into it. Okay, here we go... and spoilers for Skeleton Crew.

Most important rule - you can’t foreshadow if you don’t know where you’re going. And you can tell if a writer abandons their original idea, because the end doesn’t feel natural or satisfying.

There are so many ways to plot, but I use the 16 point plot plan. It covers all the key beats, so I can’t ever get really lost. Even when my characters do their own bloody thing without permission (Alastor, Sans, I’m looking at you two), I’m not losing any of the structure or foreshadowing work I’ve done.

https://writershq.co.uk/wp-content/uploads/2018/06/magical-16-point-plot-planner.pdf

When foreshadowing a twist, the biggest fear I have is ‘this is too obvious, everyone’s going to know’. But from experience, few do. I thought for sure everyone would realize Tido was the mole when I laid out the early hints. But I only really remember maybe two or three comments, guessing it might be her.

There’s a belief twists are supposed to be completely out of the blue. Nah. You need to lay the groundwork. “And then the meteor hit” is not a twist if it comes out of nowhere. No one wants a deus ex meteor strike. The twist needs to be a logical extension of the story, not a random plot device.

Knowing who knows what, and what they choose to reveal, is a good way to foreshadow. The way a character speaks can hint at a twist. It can be subtle and written off - a character reminiscing about a dead man in the present tense can be written off as an expression of grief. Twist! He’s alive! It’s an oldie but a goodie.

When I’m writing something with a lot of characters, I keep a little list about who knows what and at what point in the story. It’s useful to keep your facts in order. I wrote a draft of a sci-fi novel (over 100k) before realising that one character couldn’t possibly know what they know and it messed the whole thing up.

*Pained author sounds and redrafting.*

Thematic foreshadowing! Tricky, but worth it, and also requires you to understand your story before putting it on paper. Or the internet. Another classic example - Romeo and Juliet isn’t shy in hitting you over the head with its themes of fate, destiny and tragedy. If it wasn’t clear from the opening lines, the constant messaging of being unable to escape your fate foreshadows where we’re ending up.

In Skeleton Crew, I wanted to explore the idea of picking a side and fighting for what you believe in. The nurse, bless her naïve socks, starts the novel hoped that though her actions are criminal, she was not herself a criminal. That the world is basically good, and she was just fixing a wrong. She starts the novel with a tranq gun and ends it with a shotgun.

Ending with the nurse shooting someone with a shotgun was one of the first things I realised when planning. Everything was leading to that pivot in her character. Because I knew that, I could shape everything around it. By the end, she’s accepted there’s something wrong with the world, and she has to stand up for what’s important to her. Not as a nurse, but as a soulmate and a fighter.

Anyway, forgive the rambly thoughts. If you want further reading, or just better advice from someone smarter than I am, I’d recommend https://jerichowriters.com/what-is-foreshadowing-in-literature/

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bricreative · 4 months ago

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Thoughts on Life is Strange: Double Exposure so far (SPOILERS) because I think about this stupid series way too much

I have a lot of thoughts and feelings. Some of it’s good, but I’m mostly just sad and disappointed about the whole thing. I’ll try to keep it just about the game, but I also want to talk about the build up, how the marketing (so far) has mislead fans about certain choices and characters, how fans have been teetering on harassment to the devs, and what I’m hoping for in the chapters 3-5.

I'm sure there are others out there who can articulate these points better than I can and I'll probably repeat said points, but if you want to see a rare ramble from me, here are my thoughts, either in full paragraphs or bullet points ->

EDIT: Leaks are already coming out so half the shit I say in this probably doesn’t even matter 🙃

Early access has been out for more than a week now and I was only able to finish parts of it until I had to go on vacation. Parts of the story were spoiled for me before I got around to finishing the second chapter. So any “ twist” or revelation that did occur wasn’t as exciting as it could’ve been. And that’s mostly on me because I never really feel the need to block words/tags to avoid spoilers, unless I actually cared about said story.

And well, as much as I try to give Deck Nine some grace, the outlook for this game wasn't looking great to begin with…

Like the fucking break up with Max and Chloe?? While it wasn't a total shocker, the marketing has been leading towards that, it still left me heartbroken that this is how it's playing out. I was trying to be hopeful (delusional) that maybe they were going to do the long distance route. I thought that just made the most sense. I thought that’s why they were only releasing the first two chapters.

(I also know it was to get people to buy the ultimate edition, I know, I know)

I can see a route where taking some time apart could make sense given the overwhelming guilt, pain, trauma they obviously faced. But the way Chloe is currently written just feels so ooc? I don’t think she would’ve thrown so much shit Max’s way, especially about her rewind powers. I would think given it's been 10 years after the events of Arcadia Bay, she would trust Max completely. It’s also crazy considering Deck 9 made a whole ass prequel game revolving around Chloe?? And made a cute DLC with Max and Chloe as kids. It’s just baffling me how they’re treating her character.

I wonder what the reason was for not including Chloe more into the story. Did Square not want her in it at all? Did they even attempt to try and bring Ashley Burch back? I figured, they probably couldn’t get her to reprise the role full time, so maybe they opted her for a part time role, or a meaningful cameo. Are they hiding Chloe because they only have Rhianna and they’re afraid of disappointment/ backlash?

And now we have lines from the original game redubbed by her, so it’s looking more and more like that’s the case. It’ll be Rhianna...

And look, I don’t hate her or her performance in Before the Storm, I’m just not crazy about it. She has some powerful scenes in it for sure, but I do think it is the weakest game of the series. At the end of the day, Ashley will always be Chloe, and she has the best chemistry/dynamic with Hannah Telle.

It doesn’t help that we barely know what happened in between the events of LIS and DE. It’s crazy to me that the writers didn’t even bother to put simple dates on text messages, some journal entries, etc. They have in the previous games, why not now? Are they hiding something or was it just an oversight or lack of care? And don’t get me started on the artwork in this journal....

It’s not bad but it's SO not Max’s style. It’s so cartoony? She’s writing less and less. What would’ve been cool to see is a portfolio of all of her previous work so far. She would’ve had SO much from traveling the country? Such a missed opportunity. AND an actual photo mode, hello?? What we have right now is kinda lackluster

I don't like that this series is becoming a glorified dating sim.The romances that did work in the past were built off of genuine connection and chemistry? They just jump right into this one??

While I actually do like Amanda, I can see them working in a BAY route only

Max would not go for a guy like Vinh in any timeline. Holy fuck, he’s so gross

It's just so obvious they had to shoehorn his romance route last minute

At this point, i'm agreeing with the argument that Max is a lesbian rather than a bisexual (even though I love the pattern that all lis protags are bi)

Or better yet, we don't have to go the romance route at all

I know all fandoms are annoying but the way certain fans have been acting towards the official accounts/ developers has been frustrating to witness?? I'm not saying you can't be critical, especially when it's on your own personal posts/accounts, but it's getting to the point where y'all are harassing them for every little fucking thing. I don't know, I just don’t have the energy to pester or harass accounts this fucking much. Don’t yall have better things to do? There are bigger things going on in the world

Focus all of that energy into creating art, writing, etc.

Remember that these characters are made up, it is a game

There’s a difference between thoughtfully criticizing and just plain bashing people

While I do think it’s frustrating, I can kinda understand why Square/D9 decided to be cagey about Chloe’s appearance. They’re walking a thin tightrope right now

There have been issues revolving around leaks even before the official announcement of the game came out AND there are leaks going around as we speak

They went the Last of Us II marketing route and essentially tricked people, yes. It sucks, it’s frustrating, I get wanting to build hype, any press is good press I guess

Maybe Chloe will have a bigger role in the later chapters? I’m more than prepared to eat my words but I’d rather maintain a little bit of hope here

I also think it's important to point out the things that I do like, at least to keep me sane:

The performances, especially from the first chapter, are pretty strong! Particularly from Safi, Max, Amanda, and Moses. Like that performance capture technology doesn't get talked about enough! The level of detail, the expressions, it’s incredible! You don't even see that in AAA games sometimes!

I do love that D9 brings in talent from outside the gaming industry, really makes the performances feel well rounded. True Colors did this very well, especially with Erika Mori

The doppelgänger power that’s being hinted at is SO cool imo. Every time I think that there aren’t any other worthwhile powers they can bring into this world, they surprise me. I’m interested to see where they’ll take it

Maybe they’ll do something fucky with Bay/Bae route. It’s hinted that timelines are overlapping. Maybe something crazy will happen.

What if we encounter multiple Max's (again) maybe another Chloe, were already jumping between timelines

Maybe they’ll bring Rachel back, maybe the doppelgänger ruined Max and Chloe’s relationship. We don’t know!

And look, I love this series. That much is obvious. The brain rot has always been there. I can joke and jest that this new story makes me sad and depressed, (even my playlist that I made is hitting different knowing that they broke up Max and Chloe,) but at the end of the day it's a GAME

I feel like I need to reiterate this for people but the game is still not fully out yet! I, at least, want to reserve some judgment before I fully decide how I feel about the game. Maybe they’ll surprise us, maybe Chloe will show up in the later chapters, maybe there will be a positive twist.

If it doesn’t turn out that way then that’s fine too! There are other games and comics and books to fall back on. There is so much more to this series than just Max and Chloe. I wish more people would realize that and give the other games a real chance

#bri talks #this is what happens when you bottle shit up inside #5 pages of this and I STILL have more things I wanna talk about #I’ll wait until the game is fully out #life is strange double exposure #lis

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daydreamalley · 10 months ago

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A Ramble about Phase 19 of the Fifteen Manga Ft. Storm Bringer spoilers

Just absolutely cannot get over the 15 manga. I love the light novel so much, but this manga adaptation is so ridiculously amazing. Dazai and Chuuya’s proximity/touching has been amazing of course. I adore the way Hoshikawa draws Dazai and Chuuya as well (my baby boys, especially Chuuya). But these last two chapters with Rimbaud and Verlaine. Like, fuck. The whole “At least, one of them felt that way,” part just hits so much harder in the manga for me, with the art and page placement. And this whole most recent chapter. Like firstly, you don’t have to end every chapter with like Chuuya getting stabbed okay, help me out here.

Comparing the last page of phase 18 with Verlaine and the first page of phase 19 with Chuuya makes it so obvious that Rimbaud is seeing the similarities between them with just that parallel, which is confirmed later with Rimbaud quite literally seeing Verlaine standing behind Chuuya.

Not to mention in phase 18 the “That’s right Paul, I remember you,” in conjunction with him seeing Verlaine in Chuuya.

Then that flashback with Verlaine carrying Chuuya and Chuuya’s just so small I could cry.

Like, I knew he was small, but he's just so young, I can't. People were experimenting on him. Like, how??

The way Rimbaud wants to ask Chuuya something and Chuuya crouches down to him. Which leads to Rimbaud putting a hand around Chuuya as he tells him to live. How close and personal they are when Rimbaud says all of this just make it feel so much more impactful for Chuuya. Kinda love too that Chuuya isn't just standing over Rimbaud. He's making it obvious he's open to listening.

Rimbaud says a lot of shitty things to Chuuya up to this point, even complaining that he has to kill a kid while only referring to Dazai, completely not acknowledging Chuuya as anything more than Arahabaki. But once he fully remembers what happened with Verlaine, I feel like that’s when Rimbaud remembers what he truly believed about Verlaine and his humanity and how that extends to Chuuya’s humanity. Because Rimbaud’s whole final speech is most definitely things he’d also thought of or told Verlaine before (as I think is confirmed in SB). I think those are Rimbaud’s true thoughts and beliefs on the matter, it just took that long for him to remember the full story and how he felt about it all. Rimbaud saw Verlaine’s struggles with humanity, and now he also remembers why Verlaine betrayed him. And so he tells Chuuya to live, just as Verlaine wanted him to back then, live without the burden of worrying about your humanity or where you came from, because “you are you.” It doesn’t matter if Chuuya (and Verlaine) “are but a pattern etched on the surface of raw power.” In Rimbaud’s mind, and honestly where we eventually end up at the end of SB, is that it really doesn’t matter what your origins are, whether someone is an artificial personality (aka pattern) etched onto raw power, because really everything is some version of a pattern upon the world. And in a word with abilities, a lot of people are a pattern connected to a power. Just as in SB Chuuya decides that even though Adam isn’t human and he knows it, it doesn’t take away from Adam’s actions, his sacrifices, or his dreams. Same goes for Chuuya and Verlaine. Their origins don't affect how human they truly are. Their humanity is significant no matter what. It just took a bit more convincing for Chuuya to get there, a little more than what Rimbaud could offer on his (almost) deathbed.

Anyway, Chuuya holding Rimbaud’s hand as he dies just does things to me. Like, the book described that “Both Chuuya and Dazai quietly listened as if there was something in what Randou (Rimbaud) was saying that they couldn’t allow themselves to miss… Some things, however, would not return to normal: the body of a man who no longer felt the cold, and the hearts of two boys who stood rooted to the spot, staring at him. A gust of wind peered through their souls as it passed them by.”

This page just so well depicts that last line. It truly feels these boys have heard something so monumental, that they won’t ever forget. Standing in the aftermath of their first fight together, hearing these words about humanity that both mean so much to both of them. Dazai’s expressions really convey this to me in the manga, and convey it just so beautifully. And Chuuya being so close to Rimbaud when he speak those words just makes it feel like those words truly are so monumental for him. And also this means that Chuuya fought to kill a man, that to be entirely fair and clear was trying to kill him first, and then held to his hand as he dies, and there’s just something about this added detail that’s so significant to me in portraying the weight of it on Chuuya. Chuuya's connection to Rimbaud is a complicated but important one. But really these words are important for both boys, because let’s not forget that Dazai also struggles with his humanity. Even if he doesn’t have a physical reason to doubt his humanity, like Chuuya, there are many other reasons that he does doubt it. So hearing that all people and all of humanity are really just patterns within the physical world, human or not that’s true of everyone and everything, and that’s important for Dazai to hear too. I think both boys think back to Rimbaud’s final speech quite a bit, if I’m being honest or did for a while.

I am NOT getting over the detail that someone (Chuuya??) put Rimbaud’s scarf on his grave. I just… it does something to me and I love that detail so much. And cutting back to that “You are you” line while Chuuya’s talking to the grave is just so perfect in my opinion, and again just shows the significance of it so, so well. It’s like, he's talking to Rimbaud, complaining about his actions really, and then it cuts to that “you are you” and it just shows almost the contrast I guess between Chuuya feeling unrest at not finding stuff about his past that Rimbaud could’ve given him, but maybe wouldn’t have anyway, and Rimbaud’s statement that those things don’t matter because Chuuya is who he is beyond all that. Also the little dandelion blowing into the wind, to me also signifying a wish being spread.

Anyway, entirely unnecessary to end the chapter with a big knife in Chuuya’s back, thanks. Especially after Chuuya mentions how he’s still exhausted from everything. Like let’s just, stop, please.

He's just a boy, leave him alone for the sake of all things good.

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thewandererh · 5 months ago

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💛Hello everyone! Wanderer here :]

Please DO NOT send me donation asks, they make me anxious. I do not know the difference between bots and real people. I have no money to give. Contact active organizations instead of me. Thank you.

DNI : NSFW blogs, homophobes, transphobes, racists (etc), romantic + sexual cjshippers, prolifers, proshippers, ai art/chat supporters, trump supporters, anyone who disrespects boundaries as a “joke,” people not open to mental growth & learning.

_…-^*^-…_ _…-^*^-…_ _…-^*^-…_

Meet me! I am a: mental health advocate, gluten free eater, adhd+autism individual, emoji enjoyer, alliteration admirer, local logophile, radiation rambler, and ceaseless cloudspotter

i’m also a Visual-Introverted iNtuitive Feeling Judging-Turbulent Advocate!

i value boundaries highly! i prefer my relationships contain mutual respect, trust, and support on both sides. if something i’m uncomfortable with comes up, i’ll tell you :]!

i like saying good things about others’ creations, but that doesn’t mean it’s my job. i do it when i have enough capacity/energy for it in a given day. i believe all artists and art are equal. no one is above another no matter what! we are all influenced by, like, and explore different things as people, and that effects all of our wonderful art <3.

i exist to express myself. and you do too ^^! creating what brings joy leads to fulfillment and a well-rounded sense of self. don’t follow me for one specific thing, as i am not anchored to one fandom, idea, or another. i am just here to have fun :].

🍱 current interests

i will be reblogging spoilers! unfollow and/or block main tags if you want to avoid them

📺Poppy Playtime chapter 5!!!!!!!!!!!!!!!!!!!!!!!!!!

🏰Nimona

🦑Will You Snail

⚛️Everything (what games do you like? oh uh. everything)

☔️Rainworld

🦊Maybe a Fox

🌺Nine Sols

🐋South Scrimshaw

🫴GRIS

🩶Chonny Jash

🌲Pinepoint

🎧 favorite song artists

i really love intricate, atmospheric, and acoustic aspects in my music :]! furthermore, lyrics filled with a feeling, metaphors, or even a story i can think about powers my inspiration ^_^

lofi genre — some were at sea — haley heynderickx — searows — jack conte — oct — good kid — jonas tyroller — louie zong — berlinist — johanna warren — noah kahan — imogen heap — cosmo sheldrake — AURORA — glass animals — cavetown — the crane wives — phoebe bridgers — far caspian — kiltro — frida johansson — tamkish — lemon demon — owl city — vashti bunyan — yann van der cruyssen — meydän — lifeformed

🪤 hyperfixations

☔️rain world

🩶chonny jash

☁️clouds (official cloud appreciation society member!)

☢️radioactivity (thank you kyle hill)

🧐 other things i really like

analyzing literary devices, leitmotifs, and psychology

character/creature design (psychology <3, metaphors, shape language, headcanons, palettes, outfits)

visual composition + graphic design

outfit experimentation when dressing up (flannel jackets, shirts with decals)

collecting memoirs (stickers, patches, notebooks, other trinkets)

exploring the gluten-freeness of trader joe’s :]

words that feel fun to say (alliterations = vocal stims)

small notebooks

stuffed animals :D

background noise/music (lofi!)

origami!

🗺️ tags for navigating my blog!

use the blog search bar to search for specific content

traditional art : #pen&pencilparade

digital art : #digitaldepictions

animation : #awesomeanimating

longform stuff : #wordwondering

really passionate rambles : #hyperfixationhullabalooing

original stories/essays : #puttingpen2paper

#slugcatmarkerdoodles & #worksheetworkshopping

talkin ‘bout clouds : #carwindowcloudspotting

silly jokes : #sillyposting

crafts : #craftcorner

plushies go places : #plushadventures

play these games : #game recommendations

exploring my mental : #figuringmyselfout

get to know me! : #personalposts

answers/asks : #letters2&fro

favorite posts : #fave

writing i love : #bookshelf

📜 oc story tags!

💛ORIGINAL:

#the-inexpendables - alien diving robots are dug up by humans

#cloudkids - cloud-inspired silly guys live life in the suburbs

#protean-punishment - abstract animal shapeshifters defend their magic

☔️RAINWORLD:

#elementaliterator - the angsty makings of twine’s journey chasing the light

#kylehillgang - robots of wacky science make it in the ecosystem somehow

🔀CJ x RW CROSSOVERS:

#iambicpentameter - robiological hms mentally reconnect

#iambicpentameter deepswim - SUL dives below superficial life

#technicolorquintet - thdph but iterator (they are very gay)

🩶CHONNY JASH:

#cccclinic - whole’s headspacial recovery during and after a very big coma

#ccccycles - jashlings painfully change forms when fights resort to violence

hope you all have a wonderful day :]💛

#intro post #intro posts on tumblr

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mae-i-scribble · 1 year ago

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I'm doing a very slow reread of orv with some friends, but since I can't talk about my spoilerous rambles with them too much I have decided to make a post here to get my thoughts out. Up to chapter 25, I've been surprised by the amount of little hints we're already getting for larger plot points and the things that are recontextualized now that I'm looking with hindsight rather than experiencing it for the first time, which really speaks to how phenomenally written orv is on a fundamental level. By the time we get to the 3rd scenario, we've had Dokja mention his mother once, when he briefly worries over her safety. Then we get this line:

"I looked around at the people. The first scenario was original sin. Thus, none of the people here were innocent. That made it more disgusting. Those who trampled on someone else to survive, who couldn’t even bear responsibility for their own life."

Of course it's firstly talking about the lack of morality in this world, when faced with the truth that between the major and minor groups of Gumho station, one fact makes them equal: they are all murderers. The use of the phrase "the original sin" caught my eye because when looking at Dokja's life, murder is his original sin- the murder of his father. That is what sparks the events leading up to this point. It is the true original sin of this world. However, that being followed by "That made it more disgusting...who couldn't even bear responsibility for their own life," is rather hypocritical in that regard. We have no way of knowing exactly how much of that night Dokja remembers at this point of the story, so there are 2 ways to interpret this in regards to his father's murder. 1) Dokja does not remember that he murdered his father, but remembers that his mother had taken responsibility for her crime and served her sentence. In regards to here the people of the minor are far inferior because they cannot adapt the way Sookyung did to their crime. 2) Dokja does remember that he murdered his father, and this disgust is equally leveled at himself, because he knows his mother is innocent but that she took responsibility from Dokja. Thus Dokja of back then is just like these people, unable to take responsibility for his crime.

Then, later on, we see the text, and Dokja specifically, focus on this particular pairing in the minor group.

"The people started to move. All in all, they were people who had already killed. “M-Mother!” “Dayoung, come here! Do this! Just like what you did on the subway with Mother!” Children and mothers."

Then in Chapter 25 we have:

"I honestly admired that the mother and child survived the bloody fight. If she had that much strength, they might be able to survive without going with us."

The English translation doesn't exactly lend itself to identifying the gender of the child, and I am miserably monolingual so I'm not sure if the original text specifies Dayoung's gender, but for thematic reasons I'm choosing to imagine them as a mother/son paring. In that regard, Dokja choosing to notice them out of everyone else, when he's an extremely apathetic person in these early chapters who doesn't care much for those not directly related to him or the story/his survival is very notable. I can't help but think he sees himself in that, as both the son of a murderer and a murderer himself. It's also notable that when complimenting the pair, he only focuses on the mother's strength. Which like. The subconscious projection is so real. To Dokja the child didn't do anything it seems, it's only because of the mother's strength that they will be able to live on. I'm sure I will be back to add more info on this as I trudge through the novel because Dokja and Sookyung's relationship makes me mentally ill all the time but for now I shall simply lay down and ponder(tm)

#orv #orv spoilers #kim dokja #lee sookyung #i think the manhwa has covered this but just in case #anyways holy shit ss went way too hard with this novel #the fucking layers #IVE HAD SO MANY DISCORD CONVOS ABOUT THE FIRST 20 CONVOS ALONE #thats how fucking dense this novel is #maybe i'll put more of the thoughts here on tumblr because sometimes i do have good thoughts and opinions actually #and my friends' viewpoints are very fun to get since they all focus on different things

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unhealthy-reading-habits · 2 years ago

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Like many people, I binged watched Season 2 of Good Omens on Friday. I had a couple of days to deal with all the emotions, and I’ve now reached an epiphany. What follows here is the mad rambling of a GO apologist.

Warning: Good Omens Season 2 spoilers ahead, do not read if you don’t want spoilers. I will be spoiling the ending of Season 2 in this post. Please go watch it first. I’m also going to mention the ending of two of Jane Austen’s works (P&P and S&S)

The epiphany: Good Omens is a romantic story. Both Crowley and Aziraphale asked for this heartbreak but both are so woefully naïve about what love is, they didn’t even realise what they were asking for.

What do I mean by this?

In episode 2 (S2), they both describe what they think a romantic scenario is, but both are only focusing on the romantic finale. They are not thinking about the build-up to that moment, which includes a heartbreaking separation which only then leads to those romantic conclusions.

They are actually describing the same romantic scenario of having a separation and then reuniting in love again, they just present the scene differently.

Crowley describes his idea of romance as two people looking longingly into each other's eyes in the rain. He does say “beneath a canopy” but follows the above line by saying that if you “get humans wet and staring into each other’s eyes”, this is what makes them fall in love, so Crowley is talking about confirming your love in the rain.

Examples in Richard Curtis films

Four Weddings and a Funeral - No cover, just rain kissing

Bridget Jones's Diary - No cover, just snow kissing

At face value, we think Crowley is saying the rain thing because of what happened at Eden, and I think that is part of it. But keep in mind that during the "before the beginning" scene and at the Eden scene, neither of them stared into each other’s eyes. They both kept facing forward.

What Crowley is actually describing is the romantic trope of the protagonist couple having a love-confirming kiss in the rain. The issue is the “confirmation” love kiss occurs after there is a period of separation or break-up in the relationship itself.

It’s sometimes called the “Second-Act Breakup” or "Third-Act Breakup" and the ending of Season 2 is a classic set-up for a Break-Up/Make-Up Scenario.

The trope often happens after the couple get into a big fight/misunderstanding/some event that breaks the two people up. The “under a canopy” bit isn’t the important detail here, the actual romantic scene Crowley is eluding to is the reunion kiss in the rain. To get a reunion kiss though, you need to break up properly first.

The romantic film story for the reunion kiss in the rain is only fully satisfying because it’s the moment after the horrible low of the two breaking apart, trying to forget the other person and thinking that they might not be together. So when the two characters do reunite at the end, it is a great romantic conclusion to the story.

Aziraphale described his idea of romance as going to a ball in a Jane Austen novel, where the characters realise they misunderstood each other, but the misunderstanding has to come first in this case.

It’s very obvious that the Good Omens 2 story is only halfway through and is written like a Jane Austen novel, which is blatantly said throughout the show.

[Side note: it’s been years since I read these novels so I’m hoping I’m not misremembering.]

Pride & Prejudice – Elizabeth angrily and rather viciously rejects Mr Darcy’s proposal mid-way through the novel and the remainder of the story is the “being separated” phase of the romance until they are reconciled at the end.

Sense & Sensibility – Elinor’s affection for Edward is disrupted by Lucy Steele’s presence as Edward’s fiancé half way through the novel. This “break up” of the courting between Elinor and Edward is only resolved at the end of the story when Lucy leaves Edward and he is now free to propose to Elinor.

The two most well-known stories by Jane Austen have a break up/separation scene about half way through, which the characters have to work through to then have the reunited happy ending.

For the Break-Up/Make-Up story, the two romantic interested need to finally realise/decide to disregard everything else, settle the misunderstanding and reunite, that’s the finality of the romance. To get this scene, you have to go through the break-up where the two separate first to get those raw emotions, which makes the reunited ending so incredible.

Yes, Aziraphale and Crowley have had fights and temporary lapses in their relationship, like the bandstand scene. But it’s not really them that are causing the break-up. It’s outside forces pressuring them, the environment around them making them act this way. They are also only fighting about something external (raising the antichrist, finding the antichrist etc).

This break-up is more personal, it is them individually instigating the break-up over their own intimate relationship. It’s not the usual song-and-dance, this is Aziraphale choosing a plan and Crowley choosing a different plan and both are too stubborn to relent.

It is Crowley and Aziraphale choosing to split because they cannot reconcile their opposing views about their own relationship and both choose to walk away from the situation.

There is a hypothesis about the “coffee” and Metatron’s maybe brainwashing here, but in my opinion, Aziraphale still chose his plan for their relationship over Crowley’s plan for their relationship. This was a conscious choice on Aziraphale's part.

This time, they were arguing about themselves, which led to a true break-up. An irreconcilable argument between them that they must work through so their relationship can mature:

Crowley still cannot understand that Aziraphale will never run away with him to be just the two of them. Aziraphale cares too much about Earth and humanity and wants to help people, so Aziraphale will never just leave.

Aziraphale still cannot accept that Crowley is not and does not want to be an angel. Aziraphale is not listening to Crowley when he says he does not want to go back to how things were before because he is genuinely happy with just being with Aziraphale.

Aziraphale consistently reminds himself that Crowley is a demon because (maybe knowingly, maybe subconsciously) he still sees him as an angel.

Crowley’s good actions further emphasise what Aziraphale already knows, that Crowley is a good person, but it’s very difficult for Aziraphale to separate the concepts of “good” and “angel”.

Both of them are not accepting the other as they truly are. Their relationship needs a real break-up, caused by themselves so that they can learn to accept each other as their full authentic selves.

We have to endure the low points to fully enjoy the high points.

Neil Gaiman has been very clear he intends there to be a season 3 so this love story is only halfway through, and frustratingly the break-up scene is the end of season 2. It’s like ending P&P when Elizabeth rejects Mr Darcy’s first proposal, or ending The Notebook as Allie sees the newspaper article about Noah but not showing them getting back together.

We know Crowley and Aziraphale will end up at the South Downs cottage. It’s just an emotional heart-wrenching journey between the two points. But when we get that reunion between them, it’s going to be delicious.

P.S. Neil Gaiman, you goddamn tease, if you are going for a full P&P/kiss in the rain experience, I really hope we get an Aziraphale wet shirt scene

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