#that's actually from players 1997

[spiderfroggo]

another saw doodle dump!!

[dropthedemiurge]

Let Free The Curse of Taekwondo: Things you didn't notice #1

Isn't this another K-BL where I'm internally squealing because of every single detail? You bet it is. You can read my other meta/cultural detail/Korean language posts for Love for Love's Sake, Time of Fever, Grey Shelter and Boys be Brave on my pinned post or hashtags^^ (I really need to organize it under one singly hashtag tho...)

I already talked about how impressed I am with the fact that this series has done their preparation job well, with props, settings, language, history etc.

It is about a countryside/small town in Southern province of Korea - because a lot of characters use satoori (southern dialect), almost all of them except for the main two guys. There is also a distinct contrast/conflict between 'fancy Seoul rich guys' looking down on 'Southern town'. Juyoung even was surprised Dohoi doesn't use satoori.

To which, he responded with 'You'll be uncomfortable if I use it". And Juyoung said there are plenty other uncomfortable things around here, beside understanding/listening to everyone using other accent xD Confusing Gaga translation errors, we meet again!

Actually, it's interesting because Dohoi's name is written 이도회 in Korean, which typically would be written as 'Dohoi' but pronounced as 'Dohwe' (think of surname Choi that is actually pronounced as Chwe), yet in the first episode I clearly heard them actually say 'Dohoi', letter by letter. Now I wonder if it's also related to satoori... I wish I could speak it, it sounds so cool tbh.

He actually said 'I'm not in a good condition', meaning his physical form. What do you mean, mood, when was that ever an excuse in sports..?xD

By the way, what is it with boys trying to get closer to other boys by buying them unusual ice cream?:') Okay, garlic sounds more weird than red bean one :D

Also, I tried to find the Hasong town they talked about but failed - maybe because of incorrect transcription or maybe they made up this town based on Uiseong - a small town close to Daegu which is famous for being the most famous garlic town, they produce a lot of it and garlic fame would be seen everywhere - so who knows, I bet they allude to this when Juyoung said 'why can't there be a vanilla garlic ice cream? It's like a collaboration!'

Another thing, I thought the time of this series was somewhere around 1990s-2000s (because I watched a movie in similar setting that was called 1997 year but they still used pagers, now that I think about it). It was also still the time where teachers could use physical punishment on their students, it's heavily highlighted but I don't actually know around what time they stopped... Probably in Seoul, they already were getting rid of it but in small towns it was old-school teaching, which is again why Dohoi tried to tell Joyoung out of it.

I'm not familiar when small laptops and phones appeared in Seoul but I think the series is actually somewhere around 2005-2010! Which would make sense, Juyoung got the 'cool' flip-phone and a laptop with Windows XP (released in 2001) but small town is still far from that, as they use landline house phones to make a call.

He also has mp3 player and as other tumblr folks figured out, he was listening and dancing to Jewelry song released in 2005 :)

And another thing that convinced me about the time era... the final scene!

Do you want to know why at the end of Ep 1 Dohoi smiled and laughed and ran to Juyoung even after so many exhausting days and neverending small miseries and a new loud housemate?

Because Juyoung not only came to pick him up with an umbrella in the acid rain, he also reenacted the famous umbrella scene from the classic romantic K-drama called "Temptation of Wolves" (늑대의 유혹) which was released in 2004! To make Dohoi laugh.

(Yes, when Juyoung intentionally put the umbrella down and the camera cut the shot to the framing when the umbrella slowly lifts up, showing smiling Juyoung, I was like 'you did nooooooot' xD)

(last screenshots taken from @heretherebedork post, I'm sorry I am very lazy and cannot take a good screenshot for life :'))

So that was already our very first romantic teasing-implication!

Another cute thing: optimistic Joyoung wrote a diary entry into the fake old Korean "Facebook" (they had Cyworld instead) to share his first selfie with Dohoi:

"[Excited Shin Jjuyoung]" (typing in a popular back then teenage style) "I miss you guys... But here it's nice too hehe ^___^ Come to play with me!! Together with my friend Dohoi too~~!"

Aren't they the cuteestttttt? I mean, this dynamic is not new but I love how unique the setting is. And I can't wait to watch the second episode, I'm waiting and savoring the first one for now but I'm going to make notes about other episodes as well so stay tuned! If you reply/comment in tags, I will put you in my tag list^^

Tag list: @benkaben @pickletrip @troubled-mind

[thestarsarecool]

“I still feel really comfortable playing with Paul, yes. We have all that history and it comes into play when we work together. You can’t just dismiss that. You’re never going to lose the closeness of those eight years we spent together. We played some great music and we were brothers; no matter what goes on up and down, we were very close. I don’t know of any other band who got that close. And we got that close because we loved each other and the pressure that only the Beatles had. No other band has had that much pressure. So all of those factors come into play when we meet each other. We know what went on. Nobody else knows. Everybody thinks they know, and they have ideas, and they write books about it, but actually only the Beatles know how heavy that was.

Paul and I used to work very hard. A lot of it fell into place, but the drummer and the bass player have a foundation to set, for everything else to be able to go on. And as I say, he is the most melodic bass player. He plays melodies within the melodies. He’s like the sea bed, or I’m the sea bed and he’s the bottom water, and everything goes up from there. Like bubbles.”

— Ringo Starr, Club Sandwich, 1997

[stxrr-strxckk]

Shakedown, 1979 1997!

(General South Park Headcannons)

A/N: Just some silly little headcannons of our favorite main 3 boys! These are non romantic but I can make romantic ones too if y'all want! Cartman isn't included in this except for little cameos he makes in the other hcs.

Any warnings?: Cartman being Cartman, a lot of swearing (obviously), Cartman is just really antisemitic.

What's on the record player?: 1979; The Smashing Pumpkins

Stan Marsh...

✭Stan and Kyle are super close in height. Like, down to the millimeter. You know how some people get measured against wood beams and there's little marks for each age? Stan and Kyle have one they share in Stan's house. Blue marks are Stan, Green marks are Kyle. He made Kyle keep his hat on when they measured since his hair gave him extra height.

"See? I'm taller!" Kyle grinned triumphantly.

"No way, dumbass. It's just that stupid fucking hair, right Cartman?" Stan looked over at his friends for approval.

Cartman nodded. "Yeah, it's that jewey ass hair, Kyle. It makes you seem taller and your nose seem smaller." Kenny's muffled snickers could be heard through his jacket.

"That isn't true, fatass!"

"Yeah stop making fun of his big nose Cartman, he can't help the fact he looks like his bitchass mom." Stan laughed, and Kyle shoved him.

"Hey! Not cool dude, that's my mom you're talking about!"

"Okay, okay, just push your hair down so we can prove I'm taller."

"No way man."

✭Once he gets older, Stan grows facial hair crazy fast. He has to shave every 2 days, at least. One time his razor broke and he had to wait until he got paid to get a new one. He grew the ugliest mustache known to man and Cartman started calling him Chewbacca. His mom said he looked just like a younger version of his father, and that's when he knew he had to get rid of it soon as possible. He wound up finding a waxing kit and tried to get rid of it that way. Long story short, he wound up with half a mustache and burns all over his upper lip. His mom had to let him use her razor to get rid of the rest of the hair. He refuses to touch any kind of wax now.

✭Listens to bands like Weezer and Blink 182, convinced their songs are made for him. "It's just like my life-" no it isn't. You're just a loser.

✭Not a very athletic guy. He's tried every sport under the sun(his parents made him), they're just not for him. He tried drama club too; hated the acting but liked the tech aspect. He ran spotlight for a few productions but ended up quitting because of how much the other guys made fun of him.

✭He had to play cello when he was younger, and quit the moment he started high school. He still knows a few songs and was pretty good.

✭He's insecure about his thick eyebrows and nose. He has a greek nose and thinks it's a lot larger than it is. Kyle judges him every time he starts talking about it.

"No, it sticks out so much! See?"

"You're joking, right?"

"No, it's so noticeable!"

"Dude. At least yours is straight. Mine is hooked. Hooked. You think I like this fuckin' thing in the middle of my face? Hell no!"

✭Whenever he's pissed at Kyle he ends up complaining to Kenny since he can keep secrets better than Cartman (and because people can never tell what Kenny's saying)

"And then he said 'grow up Stan, it's not too big a deal!' Like he wasn't just hung up about some girl rejecting him- At least me and Wendy actually dated! You know who wants to date him? No one! He's never even had a girlfriend. Yeah, you know that girl from Canada who he talked to online for a whole year before she ghosted him? That was a fake account me and the guys made to troll him. He never realized. And what's funnier is that-"

"Dude, you've been talking for like, ten hours. I need to get to sleep, it's a school night.

"Right. Sorry. But can I just say-"

"Out."

"Alright, I'm leaving. But Kyle's such a dick, he won't even stand up to his mom for me-."

Kenny has to push him out the door and lock it so he can't get back in. Then Stan and Kyle make up a week later and everything goes back to normal.

✭Was actually convinced he had superpowers when he was younger, around 5 or 6. He predicted it would rain once and all of a sudden he thinks he controls the weather. He told the guys and when they called his bluff he got super pissed and made everyone on the playground watch as he used his weather powers to try and make lightning strike. He ended up falling off the monkey bars and he now refuses to go anywhere near them.

Kyle Broflovski...

✭Puberty hit him like a truck. And not in a good way. All of a sudden he's 8 inches taller, growing a ratty mustache, with some of the worst acne and and a voice that cracks like no other. (Cartman makes fun of his voice until his starts cracking too. The hypocrisy is wild.) He was also the first in the group to start puberty. He thought he'd feel so mature and cool but ended up hating it.

✭Thankfully, now that he's taller he can actually play basketball without getting blocked by everyone. He's the tallest in the group, around 6'2 or so.

✭He has prescription glasses but never wears them because he thinks they make him look dorky. They do, but that's only because his mom picked out the thickest frames so they wouldn't break easily. When he's wearing glasses, he looks like Bart Simpson in the episode The Last Temptation of Homer, when he gets all nerdy and shit. Kyle even has the orthopedic shoes to boot.

✭He runs a dnd campaign for him, Stan, Kenny, Tweek, Craig, and Token. He used to invite Cartman but after his millionth tantrum they decided it was better without him. Kyle usually dms and sometimes writes a few of his own oneshots for the gang to do.

"Okay, as you trudge through the jungles of Chult, an animalistic cry pierces the air. Everyone roll an intelligence check!"

"This better not be another one of those dinosaurs," Stan groaned. "I just got mauled by one back there."

"Roll perception and you'll find out!" Kyle replied with a grin. "The tomb isn't far, guys. This should be one of your last encounters."

"Wait, we're not even at the tomb yet?!" Tweek's eyes widened. "We've been in this jungle for days!"

"I told you guys Tomb of Annihilation wasn't going to be an easy adventure." Kyle shrugged, before going back to business. "Okay; Craig and Token: while the rest of your party shrugs it off as just another monster you'd rather not deal with right now, you two recognize the call as a Hydra's- and it sounds hungry."

"A hydra? Dude, we are so fucked!" Stan yelled.

"Those things have like, 20 heads! Oh fuck!" Tweek added. A residual groan was heard around the table as the boys realized the danger they were in.

"This sucks ass, Kyle. How'd you talk us into this adventure? We shoulda done Curse of Strahd..." Token complained.

"Mm hmm!" Kenny agreed, crossing his arms.

"Come on guys, I believe in you! It doesn't even have that many hit points!"

"I hate to admit it, but we could really use Cartman's fireball right now." Craig sighed.

"Hey, we all agreed. He's never invited back. Not after the massacre..." Kyle shuddered.

"You're right. We'll just have to hope Princess Kenny can charm this thing." Stan nodded.

(Little bonus: Stan is a fighter, Token is a warlock, Craig is a ranger, Tweek is a paladin, Kenny doesn't have a main class he likes but mostly plays rogues or bards. Kyle usually plays as a sorcerer when he's not dming and when he's invited Cartman plays a wizard.)

✭Kyle doesn't seem like it but he actually is kind of strong. Yeah he's lanky and uncoordinated, but he can throw a pretty good right hook. He's done boxing for years. Started because he wanted to get Cartman to quit making fun of him. He's pretty fast too- he tried track out in middle and high school. He's good at jumping hurdles because of his long legs.

✭He has braces and the amount of food that gets stuck in them is criminal. He starts carrying around a little compact (the ones with two mirrors) just to make sure his teeth are clean after lunch and Cartman calls him gay for it.

"Wow Kyle, I didn't think you could get any gayer but here we are." Cartman said at lunch as Kyle whipped out a little compact.

"Shut up fatass, I'm just making sure I don't have food in my teeth like you always do."

"Ey! I do NOT have food in my teeth, thankyouverymuch." Cartman crossed his arms in a huff.

"Yeah, cus you're too busy eating everything that gets stuck in your mouth, fatboy." Stan said, Kenny laughing in agreement.

"I already told you, I'm just big boned! You're just jealous that my mom cooks me good food, not that jewey stuff Kyle always has."

"Fuck off Cartman, you'd probably eat that too."

"Yeah, no way dude. I like my food American, thank you very much."

"Dude. That's so racist."

"Oh, I'm sorry, is it racist to want to eat normal, all-American food?

✭Hear me out on this one: He's fluent in brainrot. Says skibidi on the regular, refers to himself as a sigma rizzler, all that shit. Since he has to babysit Ike all the time he's pretty caught up on gen alpha slang (Ike watches skibidi toilet unironically. He makes Kyle watch it with him). He started using it around Cartman who was convinced he made it all up. Him, Stan, and Kenny had a field day with it.

"Dude, that's so skibidi!"

"Kyle. What the fuck are you saying."

"You know, skibdi. Like, the thing on tiktok?"

"Don't tell me you don't speak brainrot, Cartman."

"I- I do too! I just... Didn't understand Kyle with his gay ass voice.

"My voice isn't gay, you gooner!"

"Hey! I'm not the gooner, you are, you... gooner!"

✭He barely ever gets haircuts. When he does, his mom just puts a bowl on his head and cuts it herself. It's part of the reason he started constantly wearing his hat. If you've seen that scene from pen15 where Maya gets her hair cut, it's just like that.

"Mom, you promise you won't go too short this time?"

"Of course bubby! It'll look the same as always, I promise."

"Mom- the clippers-"

"Shh, I know Kyle, just trust mommy."

"But the guard-"

"Trust mommy, Kyle."

"It's not the right one- it's too short-"

"No, it's okay! Trust me, I've done this more times than I can- oh."

"What? Is it bad?"

"Uh- bubby, just remember, you have a very handsome face, and if any of the boys say anything about your hair-"

"Oh, no. It's bad."

"No! No, it's just- it'll take some getting used to."

"Let me see. Where's the mirror?"

"Uh- maybe it's best if you just... Put your hat back on..."

✭He can't talk to girls for shit. Resorts to online chatrooms to try and flirt. Has gotten catfished 13 times. At least 3 of them were Cartman.

"No, Stan, I swear! She's real! Her name's Daisy, and she lives in Florida. She says she really wants to meet me, too! So I saved up for months and sent her 1500 for a first class plane ticket here. Check it out, she's pretty cute, right?"

"...Dude. That's Taylor Swift."

"Again?!"

Kenny McCormick...

✭He's a biter. And I don't even mean in a "ooh so freaky and kinky" way, I mean in a "he once bit Cartman so hard he peed his pants and refused to be within 5 feet of Kenny for a week."

✭When he gets older he ends up growing his hair out into a kind of mullet-wolf cut thing, he looks like Kurt Cobain.

✭He's actually pretty smart. He just doesn't think school is that important for him and doesn't wanna try too hard and get unwanted attention for being smart. Purposely gets Bs and Cs so his friends won't beg him for answers.

✭starts giving himself piercings once he's older. He's too poor to get them from a professional so he just uses old needles and snow to numb the pain. They almost always get infected.

✭Draws penises on his friends homework so they get in trouble when they turn it in.

"Yeah, and then she was all like- Dude!"

"What?"

"Again? Mr. Garrison is gonna collect this any second! You really had to draw a dick on it?"

"Heh, you gotta admit stan, it's pretty funny."

"Shut up fatboy, he drew it on your paper too."

"Wha- hey!"

✭He's a scrappy fighter. If a kid tries to fight him, he's biting, scratching, hair pulling, everything. 9 times out of 10 he wins and the other kid winds up absolutely wrecked. Once head-butted someone so hard he knocked out the kid's teeth. Now nobody fucks with him.

✭He was the only member of Moop who actually stuck with making music after the whole strike. He's the most musically inclined of the main 4. Wrote a few of his own songs but most of the lyrics were about loving boobs and pussy so record companies didn't end up signing him.

✭We all know he plays drums, but he also started learning electric guitar when he started his solo career. Can't sing for shit though (unless it's opera), so he tries using autotune. It just makes him sound worse.

✭He's the only member of the main 4 who's nice to Butters. Not just because he feels guilty he's a loser, but because he actually enjoys hanging out with him and how genuinely nice Butters is. The two are actually pretty good friends, Butters gets his mom to pack him extra food he gives to Kenny so he and Karen don't end up going hungry.

✭Was 100% the kid who taught everyone what sex was. Also brought his dad's nudie mags to school and showed all the guys.

"Gross, dude! What is that?"

"I dunno, I found it in my dad's room. All the girls inside are showing their boobs! Check it out!"

"Eww, why are they so pointy?"

"Because, Kyle, girls boobs start out pointy and then, once they turn 30, they get all saggy, like your mom's."

"Gross, dude! Don't talk about my mom's boobs."

"Yeah, don't talk about Kyle's mom's saggy boobs Cartman."

"Stan!"

"What? I'm defending you!"

"Hey guys, you wanna know how babies are made?"

✭As he gets older he starts to see through all of Eric's bullshit like the other guys, but still supports his ideas more than Stan and Kyle. He doesn't wanna just abandon him.

✭Amazing with kids. Shockingly so. He basically raises Karen on his own, so he knows how how to deal with kids better than the other guys. He tried to start a babysitting business after he realized how much money he could make, but if fell apart after Cartman joined and started to get the kids he babysitted involved in a ponzi scheme.

"Cartman, you did WHAT?"

"Nothing! I just had an idea..."

"Oh god, we're screwed."

"Cartman, WHAT DID YOU DO?!"

"I just thought, if people invested in our business we could get them to keep hiring us, and we can get them to invest by making them give us money in exchange for more money back, and instead of actually giving them our money, we'd just give them other people's money who also invested, and then we'd have infinite money!"

"Cartman you dumbass! You ruined my business! We're bankrupt now!"

"Ohhh, I'm sorry Kenny! I just wanted to get us infinite money! But I guess if you don't need my genius ideas, I'll just start my own babysitting business and steal all your clients. Is that what you want?"

"If it means you'll leave us the fuck alone, then yeah."

A/N: Hope y'all like these hcs! I'll probably make romantic ones soon. I'm already working on some more South Park stuff, I got a few requests I'm really excited to write! Please like, follow, and repost! XX, Starr!

Wordcount:2747

[anim-ttrpgs]

I was looking over the itch.io page for Eureka, and surprised that Blood (1997) was listed as an inspiration. That’s the build era shooter right? If so, I’m curious how the Blood inspiration shows up in Eureka (either mechanics or lore). I’m a huge fan of that game!

Oh yes, that Blood, the best build engine game.

We put Blood on the list of inspirations both because the unpublished novel that Eureka gets a lot of its world building from takes a lot of inspiration from Blood, and also because we want Eureka combat to feel a bit like Blood when the heavy-hitter monsters like vampires get involved.

The unpublished novel gets a lot from the ludonarrative of Blood in its first part. In Blood, a powerful cultist guy, Caleb, is betrayed and killed by the demon he worships, but rises from the grave and fights his way through the whole rest of the cult on a quest for vengeance. Though he isn’t exactly a vampire, he is undead, and can take a few more bullets than your average guy, but he isn’t invincible. A hail of gunfire can drop his HP to zero real fast.

The unpublished novel bears some similarity to this in that it is about a vampire that goes on a gun-slinging rampage in revenge against a powerful cult, though this ends up focusing a lot more on her own self-acceptance and learning to embrace being a vampire and the selfishness that necessarily comes with that rather than making herself as unintrusive to the lives of others as possible to the point of starvation. The antagonists, a sort of gnostic-inspired sect that consider the world a prison designed to inflict maximal suffering, and humanity to be both the wardens and the prisoners of it, purport that the death of all humanity is the only moral course of action. This mirrors the vampire’s own struggle with and eventual rejection of the idea that, as a vampire that can only exist by draining others of life, suicide is the only moral course of action.

And also, like Caleb, she’s undead but she’s not invincible. Normal bullets can put her down for a while in a high enough volume, so success in these shootouts becomes about making the most clever use of vampiric powers that she has thus far in her unlife felt too ashamed to utilize under any circumstances.

As for Eureka, we also just kinda want Eureka gunfighting combat to feel like Blood combat. Bullets can put Caleb or a Eureka investigator down quick, even if they’re a vampire. The guns in Blood are “hitscan”, so instead of there being a physical projectile represented in the game engine, when it is pointed at Caleb there is basically a dice roll as to whether he gets hit or not representing the aim of the enemies. In most games of that era that had “hitscan” enemies, there was nothing the player could do to avoid it or reduce the chance of being hit short of breaking line-of-sight completely. However, in Blood, moving fast, jumping, diving, crouching, etc. actually *do* reduce the enemy’s accuracy. This encourages a fast, high-energy style of combat. So surviving a gunfight in both games is about doing everything one can, from cover, ducking, running, etc. to reduce the chances of dying from a hail of bullets - or just throwing a stick of dynamite into the room.

Eureka is a very intentionally realistic game, but it works a lot with ‘heightened reality,’ meaning, like, the most interesting things that still fall within the realm of possibility. Normal mortal characters are still usually best served by keeping their heads down, but characters like vampires who can take a few extra bullets, and don’t die permanently when they go down, can really push their luck with bold, aggressive maneuvers more reminiscent of John Woo films like Hard Boiled, or the gameplay of Blood.

[oldguardleatherdog]

I would like to know more about pup history!

Well, hello, and thanks for asking! Sorry it took a while to respond.

Pup Play as we know it today got its start in 1986 at the International Mr. Leather gathering in Chicago when the partner of a leather artist at the Vendor Market, who showed up in a full-body leather pup suit and a mask crafted by a saddlemaker, started bouncing around the place barking and howling and humping the leather guys as they browsed the whips and chains on display-

-as a protest against the hardcore stoic impenetrable macho attitude that was prevalent among leathermen in those days - the standing joke was that "S&M" stood for "Stand & Model" - breaking through their poser facade, forcing them to interact and engage in a way that was just too cute and endearing to ignore or resist.

Pup Play began as an act of protest at the biggest leather gathering of the year against a cultural and institutional barrier to communication and connection. One guy - one dog - broke through that barrier, and nearly four decades later there are thousands of people around the world who pull on a pup hood and hit the ground or the mats or the dance floor barking up a storm, expressing ourselves in ways that are free and full, in a spirit of joy that at its best can transcend roleplay and allow us to experience, however briefly, "the time when the divorce between human and animal was not yet complete." (Mircea Eliade, Shamanism: Archaic Techniques of Ecstasy, Princeton University Press, 1972)

That guy, "Ranger", who's a good friend and a real sweetheart, is still active in the scene here in San Francisco and is our "First Pup", the original (and best!). A year later, almost to the day, I came out as a gay man - and when I came out, I came out barking. The man who put me on all fours for the first time was the man who brought me out, my first and only Leather Daddy who set me on this wild path that became a life's work.

I'm Pup Number Two, 37 years on all fours. I taught the first Pup Play workshop on record (San Francisco, August 1997), where I presented the first Trainer/Handler curriculum to a leather audience for use and adaptation, conducted numerous clinics, demos, and performances for groups and clubs across the United States, and showed hundreds of kinksters of all ages and genders how they could find, embrace, and express their "inner canine." Over the past year, I've been giving my presentation/lecture on Pup History online and IRL for pup-and-handler groups; it's been well received and is being expanded with new research from the field for 2025.

For several years Ranger and I were the only ones doing this radical fringe weird thing that was viewed as disgusting and sick and immoral by the leather and kink community, vilified so strongly that for the first decade those of us who practiced this kink did so mostly underground, communicating through word-of-mouth and personal ads in magazines, because if it got around that we liked to bark in the sack we'd have been thrown out of the community as sickos who were barely a step above actual bestialists (a slur that has never been true of our practice or those who practice it).

In the US and Canada from 1986 to 1997, there were only about a dozen known pup players - researchers including myself are actively searching for others from that long-ago time if they even existed - and we had to fight like hell for years to be open about the kink that we loved and to be able to express ourselves openly in this way. That's surprising to many given the popularity of Pup Play today, but it took a lot of hardcore commitment in the face of opposition to get us out from the shadows and into the light of day.

I hope this is a good introduction to our history and that I've expressed it well enough to satisfy your initial curiosity! There's much more, of course, so if there are any particular areas you're curious about, let me know, awoo!

Thank you for asking. "Beast wishes" to you for a happy and humpy New Year!

Woofs + wags, Alpha Pup Bruzr

[pokedash55]

Turbo, Internalized Glitchphobia, and how King Candy is a clever Parallel to Vanellope's arc

So KC is so hateful and derogatory of Vanellope's Glitch in a way that feels beyond simply keeping power and control of the kingdom. There is so much distain in his voice for Vanellope both in public and private. He is obviously paranoid of returning to a life without his rule, but I think it goes deeper. He's also terrified of returning to a life without a game. Returning to a life as a glitched homeless outcast. Remember Turbo was to some degree homeless before 1997, almost 10 years of hiding and game hopping. He's still a power hungry asshole (and I love him for that) so this isn't justification but hear me out (cause angst for angsts sake is my jam)

I love giving him this internalized hatred of glitches because he was one before Sugar Rush. After the crash in Roadblasters, the console crashed and his code was probably damaged. Without his game nothing could repair the code. He was stuck as a glitch and he attacks Vanellope ruthlessly for it as an ego defense. It's almost a subconscious response to her and a reassurance that he's in control and isn't like that anymore. It was possible at one point he was in the same position as her: Alone and worthless, long ago he too had nowhere to go and was a glitch hated and scorned by those around him, becoming nothing but a fear mongering story and a freak to those who should respect him (So the obvious way to heal from this is to make another person suffer the same fate in order to feel the satisfaction of being in control)

Attacking her and labeling her Glitch is his internalized hatred of the weakness that he is running from every day he masks as KC, gaining more and more gratification and ownership of a game he is not apart of. He made his move to usurp the throne on day one and is so psychotic and proud that he has fallen for his own ruse. The King Candy character exists and is just as real as the "Turbo' character. Turbo ended up entranced by his perfect little sandbox world. He had a home and a life again. He had access to whatever he wanted and players who would love him. His subjects loved him and he was free to bask in that attention. It was an echo chamber of comfort and instant appreciation. He could fully accept the narrative he constructed if only SHE didn't exist. But her presence is forever a stain to his new home and a threat to his ego. She will always be there to remind him that he stole this game and without it he has nothing. That the life he has, although still entitled to it, is fake. Her glitching was always a reminder of the decade he spent just like her.

People love to connect Turbo and Ralph, talking about what happens if you grow too selfish in your desires for self respect and how rejecting your role in the world can be disastrous for everyone. I love the parallels with Turbo as the ultimate extension of Ralph's negative qualities. In the movie it also directly connects Ralph and Vanellope with themes of belonging and rejection from society. But what if these thematic Parallels became a triangle?? King Candy is living a lie and claiming an identity that is not his own and doing it with glee. He relishes in the escapism of being the King. He is technically doing the opposite of Vanellope, fully denouncing his actual self and embracing a self created fake persona in a ploy for power instead of accepting his place and being content as Turbo. But once "Turbo" became an outcasted glitch (totally from his own actions but still) from the crash, that "character" wasn't popular anymore he needed to become something else. With all that access to the code someone is bound to grow nihilistic or existential with who they are. He changed every bit and strand of his code just to become popular. But Vanellope never abandoned her true self. Through all the persecution, loneliness and maybe even jealously, she accepted her state as a glitch. Even when becoming royalty she wasn't about to change herself for others. Turbo changed everything about himself in order to become Royalty Vanellope gave up royalty to be herself.

[holmsister]

The labru chess meme but like serious: why Kabru bets on Laios and wins

If you're like me (mentally ill (I can say that I'm diagnosed) about labru) you have seen several variations on this meme:

With Kabru and Laios. (To see a small collection of them, please click on the "labru chess meme" tag on this post). Would you like me to hyperanalyse this aspect of their dynamic to death and not even in a shippy manner, therefore sucking all of the fun out of the meme? Keep reading!

Spoilers for the whole manga ahead. Contains also a quantity of Winged Lion.

First of all: as noted several times, it's not that Laios is eating the pieces to win at chess, it's that he's hungry, chess pieces are available, and he thinks Kabru is a fellow chess piece eater as well. Because he offered him a chess piece. And kabru ate it. While still trying to play chess because he thinks Laios is playing chess in some novel way he wants to understand better. If you think I'm beating this metaphor to death now you haven't seen anything yet.

The thing is. Kabru's whole thing is about finding someone who can defeat the dungeon, whatever shape that takes. And Kabru knows he cannot do it. He lacks what it takes, again, whatever exactly that is. And at some point, he makes the call that Laios has that something.

What's that something? Well. He's eating the chess pieces.

In another post I have already talked about the parallels between Kabru and the Winged Lion. Without going into it again: I think that all things aside, those two have very similar types of intelligence. They're fascinated by people and finding out what motivates them. They can be manipulative and even cruel in the quest for what they believe to be the "good ending". And they both think their end can be achieved through Laios.

See, *those two* are playing chess. Have you ever played? It's a very ancient and noble game, you know, very storied.

Two opponents, Black and White, take turns moving pieces on a checkerboard according to rules that depend on the piece itself (Towers move only horizontally but of as many squares as they please, Pawns only of one square at a time and only move towards the opposite side of the board, Bishops move only diagonally, etc etc). Players can only move one piece per turn, once per turn. Two pieces cannot be in one square. When a player moves a piece in a square that is already taken by a piece of the opposing colour, the piece that was there already is "captured" and removed from the board. The rules are actually much more complicated but this is the barest bones.

I hear sometimes the win condition in chess being described as "capturing the King". That's not entirely it. The win condition in chess is putting the opposing King piece in checkmate, that is, in a position in which the King will be captured by the opposing player by the next turn no matter what moves either of them makes.

Chess matches between masters are notorious for being impossibly long. Some last YEARS. Not only that, it's possible to draw in chess - when none of the pieces on the board have legal moves left but nobody is in check. This condition is called a stalemate.

Since the pieces can move in limited ways, mathematically, it's possible to calculate a most efficient way to move them. In 1997, the AI (real AI, not the stuff that passes for AI nowadays) Deep Blue beat then chess world champion Garry Kasparov for the first time in what is considered a milestone achievement.

It's a complicated game with very set rules and almost infinite yet calculable possibilities, is what I'm getting at. It's why it's a favourite mental exercise for mathematicians and people with similar minds. It's a problem to solve in a certain number of steps according to certain rules. There's a solidity in chess reasoning - even when you're trying to guess your opponent strategy, you still know there are things they are NOT going to do. Like eating the pieces. That's why the meme is funny. I think. I've lost sight of what normal people find funny years ago.

This is the game Kabru and the Winged Lion are both in. They are both positioned to move in checkmate (conquering the dungeon/escaping the dungeon), but they have both reached a point in which they cannot move further on their own power. They're in stalemate and they know it. They both need Laios to move them out of the stalemate.

The difference is what they choose to do.

The Winged Lion treats Laios as another check piece. An important one for sure (the Queen, even. That's a chess joke AND a gay joke). But a piece he can manipulate, that moves around in predictable ways.

Kabru, however, has spent enough time chewing on chess pieces to realise thats not where Laios' potential really lies. What he does is step aside and leave the board to Laios. He says "OK, dude. Eat the damn pieces if you must. I trust you know what you're doing."

You see. There's no rule in chess about eating the pieces. I think. Maybe they added one. But still. Most people when teaching someone to play chess would not think to add "and don't eat the pieces!" There at the end because they will assume that goes without saying. It's an unspoken rule that when you are playing a game involving pieces on a board, the pieces are not for eating.

Laios, our beloved autism knight, needs his rules spoken. Otherwise he's just gonna do whatever comes to mind. And that's what he has that Kabru lacks, and what leads him to outsmarting the Winged Lion. Because he does not think in terms of rules and limits. He does not try to guess what's the catch. He does not go after the King.

When Laios figures out what the primary motivation of the Winged Lion is (wanting to eat wishes), he does not wonder about his wider plan. He stops and thinks. That makes human wishes sound so tasty, he thinks, that a creature so powerful can give up on its life of perfect bliss and immortality on another dimension to taste them. I wonder if I could eat them too. I wonder if I could eat away the Lion's desire to eat desires - I could kill two birds with one stone!

He doesn't know or care what the aim of the game is according to the rules. *His* aim now is to eat the Winged Lion's desire. Because it would solve things, because he wants to know how it tastes like, who knows, who cares. The point is: what's the fastest way to get at his aim?

Well. The Lion promises to turn him into his ideal monster... the same one he wrote about in his book. Maybe he can add a line about the monster being able to eat desires. That would work, right?

It's such a stupidly simple plan that almost has no right to work. Neither Kabru nor the WL think about it. Because of a variety of reasons, but most importantly, because *that's not in the rules*. The rules are: Laios makes a wish, the WL realises that wish, in exchange he gets Laios' body. Laios' wish: to be turned into his ultimate monster that he wrote about in his book. It goes without saying that he can't just go ahead and add whatever to the book description. Right?

Kabru would not have thought to add a line in the book in a MILLION years. The WL does not think to check if Laios added any strange condition. It's like using one wish of the genie to wish for infinite wishes - I mean yeah nobody SAID you couldnt do that but it's obvious right? It's basically cheating... Who does that? ...what's this? Laios, what are you eating? Spit the King out!

Ps: in Italian, the word for "capture" on a chessboard and the word for "eating" are one and the same.

[thislovintime]

“I’d always had deep doubts, ever since the session for ‘Last Train To Clarksville.’ I walked in there with my guitar and Tommy Boyce and Bobby Hart looked at me with derision and scorn, like, ‘Guitar in your hand, you fool!’ That was the end of it for me. Right there I was done with The Monkees in large measure. I struggled against it with some success at one point. But after Headquarters nobody wanted to be a recording group anymore. I did what I could, but I didn’t feel like there was any reason for me to be there anymore. I wanted to be in a rock group.” - Peter Tork, Head 1994 liner notes “Peter was a great musician, great banjo player, but he was mainly from New York, and he had a different process for thinking about songs. It didn’t quite fit with what we had in mind for the group called The Monkees.” - Tommy Boyce, More of the Monkees 2006 liner notes (Please read the following with a grain of salt. While the author, Glenn A. Baker, interviewed Boyce, among other people, for this book, Boyce's recollection isn't, to the best of my knowledge and research, verified by a second first-hand account.) “I did give Peter a voice audition on Saturday’s Child but I had to finally say, ‘look Pete, I can’t play banjo and you can’t sing. If I played the banjo I’d sound like you singing, I have to erase the tape.’ So Peter left in a huff and came back with Michael, who pulled off his motorcycle helmet, crashed it down onto the console and demanded ‘why don’t you let Peter sing? You guys never let us come to the sessions, it’s just you two with Davy and Micky.’ So I said ‘well that’s the way it should have been in the first place Michael, you know what I mean? You should have stayed with the Randy Sparks Trio.’ In the end we let him do a couple of tracks on his own just to calm the situation down a little.” - Tommy Boyce, Monkeemania: The True Story of The Monkees (1997) “Actually, I wanted to leave the group over two years ago when the first season ended, but the guys convinced me not to.” - Peter Tork, NME, January 25, 1969 “I took to heart the kinds of criticism leveled against The Monkees. There’s no school for rock stars. Nobody tells you what to take to heart. When criticism comes from all sides, you think it’s coming from a monolith source.” - Peter Tork, Hartford Courant, February 26, 1982 (x)

[easternmind]

Lessons in Japanese Game Design #3

From Killer7 to Deadly Premonition, Japanese game creators have intrepidly explored the theme of mental illness in a variety of genres, often in highly stylized form. The title I wish to approach today is a lesser known reference that approached this subject matter with unusual tact and clarity - a memory, if you will, which the collective conscious has long repressed.

Maria Kimi Tachi Ga Umareta Wake (The Reason You Were Born) is a late 1997 adventure game firmly rooted in the visual novel template that earned Chunsoft great repute. It was Break studio's debut, produced over a year and half for both the PlayStation and Saturn systems. It was published by Axela, a company born out of the internal management conflicts and accumulated debt at ASCII, leading to some of its executives teaming up in 1996 to establish a new project centred around software and magazine publishing. The story of this company's origins, alone, would merit a separate post.

Foreseeably, its release was followed by moderate controversy, such that worked mostly in its favour. One of the most polemical moments is found in the introduction scene, with its tasteful yet unvarnished depiction of Maria's suicide attempt, followed by her hospital admission. The imagery and that which it depicts remains as painful to watch today as it did decades ago.

While Maria is the central character, her tragedy and arc merge with that of the actual protagonist, Jun Takano, a fledgeling surgeon who, in the quality of certified psychiatrist, is assigned to provide therapy to the French-Japanese patient the morning after her admittance.

Maria's mental illness component comes to light as the story and therapy sessions progress. The key art consists of photos of women using coloured masks to visually represent the dimensions of her multiple personality disorder.

(Note: the text above is machine translated from the original Japanese game manual.)

Break was denounced for its bid to integrate so serious a derangement as a theme in a juvenile entertainment piece. Their reaction was to highlight the research done to ensure a careful treatment of the subject and sensitization of players via a bespoke message in the manual. In retrospect, the relative popularity of this game at the time was greatly owned to this fleeting controversy, and is believed to have been a crucial factor in the obtention of budget for Maria's far less spirited sequel.

As a work of pure fiction, scenario writer Kirie Fukuda was at liberty to carry the already divisive premise into even more exotic territory by establishing a mysterious yet playful correspondence between Maria's distinct personas and Egyptian deities.

The game's structure is modelled after hirudorama, a Japanese word interchangeably used to describe daytime TV fiction or soap operas; each of its nine chapters lasting nearly thirty minutes, equipped with a plot twist, cliff-hanger ending, and followed by rolling credits.

Perhaps the single most outstanding aspect about this production results from a tireless effort to surpass the standard of authenticity in what pertains facial expressions; particularly those of the multifaceted Maria, often with stilted yet all the more fascinating results.

In this and other regards, the influence of D no Shokutaku and its character, Laura, is clear and unmistakable. Maria's director and studio head at Break, Akira Okada, was an ex-Warp employee who worked as sales director precisely at the time when Eno's game was being developed.

Following a modest success, Break released Maria 2: Jutaikokuchi no Nazo in 99, a not-so-direct sequel which did not command the same attention as the original. The studio created other noteworthy visual novels: Ouma ga Toki and its sequel, as well as the most unusual Saishuu Densha, a paranormal-themed romantic story involving two strangers who meet in a train.

Before closing, it would pay to emphasize that this is an entirely different adventure game from the similarly forgotten MA-RI-A Ningōkan no Noroi, a 1996 3D CG horror adventure designed by Osamu Tezuka's son, Makoto; and scored by Kuniaki Haishima, of Kowloon's Gate and Siren 2 fame.

Nor is it related in any way with the so-called "Maria" episode from the Yarudora visual novel game series, Sampaguita, released in 1997 for the PlayStation by Sugar & Rockets and Production I.G.

[digi-lov]

Digimon & Tamagotchi

Bandai V-Pet Crossovers Part 1 (Part 2)

In 1996 Bandai and WiZ inc. released the original Tamagotchi. To their surprise, the toy proved to be popular among boys as well, despite it being mostly marketed for girls. And in 1997, as a more targeted approach to this demographic, Digital Monsters was born!

A huge virtual pet boom followed and not only did Bandai and Wiz release new versions of Tamagotchi and Digital Monsters, and try multiple v-pets with a variety of styles within the next couple of years, but other companies also tried to bandwagon on the success of these virtual pets!

(Such as Nintendo in 1998 with the Pocket Pikachu-)

While the Tamagotchi was shaped like an egg (jap. tamago) with a crack in its shell where the screen is, the Digital Monster was shaped like a brick cage with bust-open bars! It also featured the ability to connect and battle! Otherwise they both use the same three button layout and similar menu icons. On the Tamagotchi, the toilet icon is portrayed by a duck themed potty, which is also used as the look for the Portable Potty items in many Digimon games.

Now with how closely these two franchises were developed, there's bound to be more that connects the two, right?

One such thing is Tamagotchimoji and Digimoji/DigiCode!

You can see that the two scripts are basically identical, just stylized differently. While Tamagotchimoji got used sparsely until they stopped using it in 2004 (But had a surprising comeback in one social media post on April 10, 2023?!), Digimoji has been used, and still is being used everywhere in the Digimon franchise! There is also a separate set of characters for the Latin Alphabet.

[Tamagotchimoji on the left, Digimoji on the right, respective Hiragana above the character]

Just like we know it from the Digimon Franchise, the Tamagotchi also grow through evolutionary stages along a branching path, depending on how well you take care of them! The original line of Tamagotchi as well as Digimon owe their designs to Kenji Watanabe! Generally all Tamagotchi's names end in "-tchi" or "-chi", similar to how Digimon names end in "-mon".

In these evolution charts, the Tamagotchi and Digimon are arranged by how well they've been taken care of / how good they are, with the top line being the best, and the bottom being the worst.

But that Tamagotchi chart is actually just the international version, which had "Bill" (aka Gaijintchi/Ketotchi) as secret character past the adult stage. Instead the Japanese version featured "Oyajitchi" (jap. oyaji means "old man").

But wait, doesn't that face look familiar...?

According to the Digimon Reference Book, Nanimon's true identity is unknown and it in fact came from another dimension, where it was known under the title OYAJI. In order to survive in the new environment of the Digital World, Nanimon had to go through a lot of training and battling.

Nanimon's name is also a play on its bizarre nature. In Japanese, "nanimon" is a casual abbreviation of "nanimono" which means "what (thing)". So, with intonation indicating a question, "nanimonda" can mean both "What are you?" or "I am Nanimon".

This joke is even included directly in Digimon World when the player encounters Nanimon.

「ん？なにもんだ？！」 "N? Nanimon da?!" “Huh? What are you?!” 「ナニモンだァ！」 "Nanimon da!" “I’m Nanimon!”

Nanimon's nature as an alien to this World is also reflected in his trait in the Card Game being "Invader".

Nanimon BT6-058 by Kenji Watanabe from BT-06 Booster Double Diamond

So yeah, Nanimon is supposed to be Oyajitchi who came from the Tamagotchi World to the Digital World.

Stay tuned for next friday when we talk about another World connected to the Digital World!

Special thanks to: tamagotchi wiki, gotchi-garden and tamatalk for being great resources!

If you're interested in more Tamagotchi stuff, go check out @tamapalace !

[marimayscarlett]

have you seen flake's new browser game? where you submit your high score and be in with a chance to win a bundle signed by him?

it's so similar, maybe even identical conceptually to a similar competition rammstein held way back in the windows 95 era of computing. (a time i didn't experience because i was born in '05 haha, still love it tho!)

from what i've deciphered, reading and translating the readme file included in the zip, they ran a competition where you played a game, emailed your high score, and then if it was high enough, be entered into a draw to win prizes. the date shown on the .exe file is the 10th of november 1997, almost 2 months after sehnsucht's release. i think one of the prizes was a copy of sehnsucht.

this is a piece of rammstein media and history i feel goes overlooked in the fandom. as an aspiring game developer myself, it's so interesting to see what pieces of interactive media were available. granted, they were promos, but fun promos. i hope to add to the library myself, even if they're independently made (though if i got to create a game for r+ i think i would die happy jdkdskfs)

that's all i wanted to say. i love your longform posts about rammstein albums and thought you'd appreciate some info about a different part of r+ history. i'm definitely going to continue researching it. and if anyone's reading this, you can find the game and a load of digital rammstein goodies here, including a benzin flash game and some e-cards!

Hi and thank you so much for your message!

I came across Flake's little game in his newest Instagram post:

and tried it out for a bit! It took me a while to understand that I'm not supposed to collect the gifts but actually avoid them, and I'm not very good with games like this 😅 But it's fun! Here's a little impression of it:

I've heard about the PC game which accompanied the release of the single "Das Model" and was on the retail copies of the single. Here's what the rammwiki website (a bible for me at this point, I'm so thankful for this incredibly well researched, endless source of information) writes about the different levels:

The game itself is split across three levels, all also divided in to three separate platforms each. The first is a subterranean cavern, populated with water monsters and apache helicopters.

The second is a concert venue, populated with cockroaches, flying robots and floating sex dolls.

The third level is the beach from the artwork of Sehnsucht. This level is populated by an aggressive clone of the player, sea urchins, falling barrels of toxic chemicals, and a monster disguised as a flirtatious woman.

Here's a little walk through - very 90's in style and sound 😄

Thank you very much for sharing your professional insight on this, and reminding me of this game! Would've loved to play it too, but since I was only 3 years old at the time, well... my parents, who were right in the target/age group for Rammstein, didn't play it either, were too caught up in Lara Croft 😅

And thanks a lot for your appreciation, I'm glad that you find joy in my little posts 🤍

[elliot]

I played the alleged anti-rpg, moon (1997) approximately 2 years ago; it was a game that took my mind by a storm and inspired a well of creativity unlike any other. After years upon years of being incapable of original work due to a deep rooted dry spell, it was moon that opened the floodgates of my brain back up and enabled me to start making things directly from the heart again.

I’ve played a lot of games, and moon is both a cult classic and one of the most fascinating for a good reason. In the 6~ ish hours you get with it, it communicates such a wealth of abstract thematics that have managed to create a ripple effect present with games we love even today. This post examines the core of the game: the metanarrative relationship that exists between The Hero and The Invisible Boy.

There are major spoilers for the game in this post. Please read at your discretion! 

When moon posits itself as an anti-rpg, what does that term entail?

At a glance– the player assumes it’s a reference to the gameplay system which is structured around “saving” animals/monsters as opposed to fighting them. 

However, what makes the game an anti-rpg in actuality has little to do with this feel good, heartening mechanic: because the very end of the game tells you distinctly that this mechanic will not truly save anything or anyone. Whether you’re killing or saving these monsters, animals, characters, etc. you are still viewing them as metrics, objects of your affection/destruction, numbers and things and targets for your own amusement. The Invisible Boy still has a leveling system, just like The Hero. To allow these creatures and characters to flourish, you ultimately must leave them behind. The game is an anti-rpg, not because you harness the power of pacifism over violence, but because the ultimate act of love for this game, for its characters, for its messaging is to step away from it and internalize what it’s communicated to you in your real life. That’s the only way you can “beat” it.

But to deconstruct this further: the game itself deconstructs the notion of “roleplaying” ala using the protagonist as a self insert through The Invisible Boy. Who is The Invisible Boy, and who is The Hero?

When introduced to the game, you are playing as a young boy who is subsequently also playing as a character: The Hero, who serves as his initial avatar. The first thing the game prompts you to do is enter a name. The title track of the song that plays during this sequence is Entry Song, a seemingly basic reference to “name entry” that doubles as an allusion to the fact that this is the exact moment where both the Invisible Boy and The Hero “enter” the world. The name you enter applies to both characters, a reveal that’s delivered to you at the very end of the game – The Invisible Boy has this name in lower case, while The Hero has it in upper case. Fundamentally the same name but mirrored to each other. The young boy is thrust into the world through the TV screen, losing his corporeal form and therefore becoming The Invisible Boy. His existence is a strange, undefinable thing; for a reason never made known or explicit, The Invisible Boy is capable of seeing dead animals felled by The Hero. This may be due to the metanarrative divide he exists within as a “real” boy who has entered the two dimensional world of the game, but his ability to communicate with the dead transcends his interactions with the slain animals. In the sequence with Tanaka, it’s noted that the Invisible Boy has the capacity for contact with spirits and that “regular people” cannot enter the liminal space that exists between the living and the dead. What does this imply regarding the Invisible Boy? I’ll circle back to this after establishing what we know about The Hero.

The Hero, when you are first introduced to him, only exists at the mercy and control of the boy controlling him; once that boy enters the universe, he seems to act in accordance to his mission regardless and is preoccupied with the notion of leveling up and defeating the Dragon no matter the cost. Of course, easter eggs and lore within the game go on to reveal that The Hero is actually Gramby’s dead grandson, pierced by the White Feathered Arrow and trapped within the cursed armor, which effectively brainwashed him into becoming a bloodthirsty warrior with no real cognizance of what’s going on. The rainbow generator may seem inconsequential, but rainbows often symbolize the bridgeway between life and death.

So what does that have to do with the Invisible Boy?

The simplest way of communicating it is that the Invisible Boy and The Hero quite literally cannot exist without one another. The prologue featuring The Hero (called FAKE MOON) that you go through foreshadows the game’s central plot events but through the lens of The Hero, which are then experienced through the lens of The Invisible Boy. From chasing around the “crazed dog?”, to the fight with Perogon, to boarding the airship, to the mass slaughter of the animals on the moon – the story of the game, whether it’s as The Hero or The Invisible Boy, has already been written into existence. Much of moon is storytelling in reverse, wherein the further you progress, the more you come to understand The Hero’s “reality” during FAKE MOON. The songs that play during FAKE MOON are songs that reappear during REAL MOON with different instrumentals to denote them (1, 2, 3, 4, 5). Same melody and yet it evokes a completely different feeling.

The Invisible Boy follows the same road as The Hero; everywhere The Invisible Boy goes, The Hero is shortly up ahead of him. They take the same steps, meet the same people, activate all of the same plot points. The Hero’s world is rigid and unyielding, limited to an 8 bit soundtrack with environments and people rendered to their simplest forms. The Invisible Boy’s world is a subversion of this, with no soundtrack to guide him – instead you’re given a variety of genre breaking tracks to play of your own accord, with only the sound of your own footsteps to accompany you (The Hero and The Invisible Boy’s footsteps are both used to characterize their presences). The Invisible Boy’s leveling system demands that he talks to and understands other characters, but there’s still a pervasive sense of loneliness that colors his gameplay, a feeling that never quite leaves; much like The Hero’s journey. When Gramby sees The Invisible Boy, she recognizes him as her grandson and uses the inverse of his name, the version of it that exists in all caps. 

Is this to say that on some level, The Invisible Boy and The Hero exist as the same entity in dual points and egos? Possibly. The Invisible Boy is a real person, and The Hero comes into existence because of him. At the end of the game, when The Invisible Boy is slain by The Hero, The Hero dies immediately: because The Hero cannot exist without the Invisible Boy. When The Hero’s armor falls away, you do not see a child.

You see nothing. You see an invisible boy.

Florence speaks often of a recurring motif in this game: rebirth, the bridge between realities, life and death. Dying and being born again. The Hero gets his second chance – as the Invisible Boy. Because the Invisible Boy and The Hero are still a product of their design (the role of the protagonist), they condemn the cast and world to the same fate regardless of the means they take. Shedding their role within the game is the only way they can save anyone. Florence proposes that the dreamscape, the subconscious, is a gateway to another reality – The Invisible Boy’s “promises” to the Moon Queen take place in the dreamscape, where he retains his form as a human child as opposed to The Invisible Boy. The Invisible Boy and The Hero are both bound by their promise to save Love-De-Gard no matter the cost and no matter the sacrifice. On the moon, when you see the Moon Queen in person, she is physically attached to the Dragon The Hero fights: they exist as a dual ego, as two sides of the same coin. The Hero has been following the trail of the Dragon, while the The Invisible Boy has been following the guidance of The Moon Queen. They are one and the same. 

Fiction, stories, games, are escapes to other realities that exist to us and us alone. We, as the player, make out its meaning. Is that meaning steeped in blood? Is it dehumanization? Is it gratification?

While many use the scrapped “ending” as a frame of reference for The Hero’s fate or what he truly is, that’s simply inaccurate; Kimura has talked about this “ending” quite a bit. Here is an interview where he states that not only was this not an “ending” but rather a part of a scenario that you’d clear in order to eventually attain an ending that resolved the scenario in question, but also that it was scrapped early into development because it was not the direction they had wanted to take the game in. Thematically, it’s incongruent with what we’re presented. Here’s another interview where Kimura discusses it, once again stating that it would clash with what the story was presenting as is.

Conversely, there is a vocal theater that was released where you follow along with The Hero, aka the young boy that exists inside of him. Near the end of this theater, you get to hear The Hero actively make the choice to exit the game and open the door; perhaps cementing the idea that The Hero and The Invisible Boy exist as dual egos, hence why neither are shown in the ending credits.

The Invisible Boy and The Hero could be viewed as an elaborate metaphor for our relationship to gaming and art. They could be viewed as a metaphor for how young boys are socialized into violence through gaming. They could be viewed as a literal story of rebirth. They could be viewed as a young boy, learning to navigate the world and himself, at odds with these two facets of himself. They could be viewed as a young boy wanting to learn how to do right by the world, and the creatures he’s come to love. They could be viewed as something so abstract, or something so literal, that the possibilities are endless – but their identities and roles are inextricably linked and form the heart of moon. After finishing, I dug through the game in a relentless pursuit in some attempt to understand what happened to The Hero, how his narrative could be read more mercifully, what the point of this child’s alleged suffering was–

In the end, the answer is simple. You are him and he is you, just as the Invisible Boy is.

[pjohoo-reclists]

30k+ Alternate Universe Percy Jackson/Annabeth Chase Fic Recs

Request: Looking for a (preferably) long Percabeth story. Anything goes: something wholesome, smut, comfort story etc.

I tried to stick to wholesome/comfort stories, and ended up with an entire list of alternate universe fics. None of these are set in the PJO universe. They're all fairly long, over 30k each. Enjoy!

The Sweetest Sounds by timelesslords

G | 31k | Complete

Percy Jackson/Annabeth Chase

Alternate Universe Fantasy, Protective Percy Jackson, Mistaken Identity

“You’re not from around here, are you?” Annabeth asked, looking up at him. He looked back at her innocently. It seemed genuine, which only confirmed Annabeth’s suspicions. “Why do you say that?” he asked. His eyes were really a distracting shade of green. “Most people from here know better than to show me kindness,” Annabeth said, beginning to walk down the road again. He started walking again too. “I think everyone deserves kindness." *** Or, a Cinderella AU (loosely) based on Rodgers and Hammerstein's Cinderella (1997)

Merry Chrysler by ananbeth, blackjacktheboss

T | 32k | Complete

Percy Jackson/Annabeth Chase

Alternate Universe - College/University, Friends to Lovers, Slow Burn

It’s the twelfth of December and Annabeth is drunk. She’s not sure who’s apartment she’s in and she lost Piper about half an hour ago. She’s taken up residence on a very comfy couch and has resorted to people watching. Annabeth has been staring at the lights on a girl’s reindeer sweater for perhaps five minutes when a body slumps down next to her. She looks over to find her best friend, Percy, blinking at her sadly. She reaches over and pats his head. “What’s wrong, Pineapples?” “I’m gonna spend Christmas alone."

Game, Set, Match. by ananbeth, blackjacktheboss

M | 44k | Complete

Percy Jackson/Annabeth Chase

Secret Relationship, Friends with Benefits, Athlete Percabeth

“We should probably make some rules.” Percy has regained control over his expression, he looks back with a raised eyebrow and a contemplative expression. “Rules?” “So this doesn’t get messy.” “Okay. So, we should be honest with each other, right? No lying or whatever.” “Right. That includes if we start feeling things.” “Things?” “You know, like, emotions and shit.” “Such a way with words.” “Fuck off.”   Or, that one where Percy and Annabeth are pro tennis players and decide to hook up. Annabeth wants rules, Percy gets too attached. What's new.

Sugar, Sugar by perseannabeth

T | 50k | Complete

Percy Jackson/Annabeth Chase, Jason Grace/Piper McLean

Chocolate Store AU, Fluff, Friends to Lovers

Annabeth Chase doesn't have a sweet tooth, she isn't a big fan of chocolates but there is a small chocolate store that might change her mind. Falling in love in a chocolate store was Piper's love story, not hers but things could change when a green-eyed chocolate maker enters her life. Piper McLean didn't expect to run into the (possibly) love of her life while she was buying chocolates still in her pajamas, but one smile from him and she was a goner. Between dating and working, she still finds time to hang out with her best friends and, even if Annabeth didn't want her to be, be a wingman for Annabeth.

and they were roommates by bipercabeth

T | 76k | Complete

Percy Jackson/Annabeth Chase

Alternate Universe College/University, Friends to Lovers, Slow Burn

oh my god they were roommates It had been a throwaway comment, really, when Annabeth had suggested that she and Percy get an apartment together for college.

Spellbound by writergirl8

M | 91k | Complete

Percy Jackson/Annabeth Chase, Jason Grace/Piper McLean

Hogwarts AU, Domestic Bliss, Married!Percabeth, Teacher!Percy

Percy always thought the most bewitching thing he could discover at Hogwarts was magic. Then he met Annabeth Chase.

just practice by knuffled (bigscary)

T | 95k | Complete

Percy Jackson/Annabeth Chase

Fake/Pretend Relationship, Fluff, Angst

“So I’m taking you on dates and stuff, but we’re not actually together?” “Yeah, exactly. It’s just practice,” Annabeth said, nodding. “Just practice,” Percy echoed. “Just practice,” Annabeth confirmed. Percy locked eyes with her silently for a few seconds before he took a long sip of his milkshake. “Do we have a deal?” Annabeth asked. “We have a deal,” Percy said.

I Got a Boy by flyingcrowbar

T | 137k | Complete

Percy Jackson/Annabeth Chase

Alternate Universe High School, Secret Identity, Fluff and Humor

Bolt Academy has everything: prestige, affluence, renown. Almost every world leader, CEO, athlete, and have stepped through its doors. Problem is, it’s only for boys. But it’s the only school with the most challenging architecture program in the country. What else is Annabeth Chase supposed to do? Desperate to achieve her dream of becoming an esteemed architect, she cuts off her long curls, binds her chest, and goes by the name of Andy - the newest male student on campus. Now she must travel the dorms, the locker rooms, even the hallways with her secret. It’s smooth sailing, that is until Annabeth’s roommate Percy Jackson - a nationally ranked freestyle swimmer - starts to have feelings for Andy. Coming to understand his sexual orientation, Percy navigates a campus filled with homophobia and hate crimes, all while every day taking a step closer to competing in the Olympics. Around every corner lies an opportunity for sabotage, and Percy has a target on his back. But when Percy discovers the secret that Annabeth has been keeping, hard choices must be made and neither are willing to let the other give up on their dreams. An interpretation of “She’s the Man” and the Korean drama “To the Beautiful You.”

The Long Game by captainjackson

E | 293k | Complete

Percy Jackson/Annabeth Chase, Annabeth Chase & Connor Stoll, Percy Jackson/Rachel Elizabeth Dare

Alternate Universe College/University, Mortal AU, Olympics AU

With the Summer Olympics less than four months away, Annabeth Chase and her beach volleyball teammate, Piper, are right on track to being invited to represent the United States in Athens. But that level of premiere athletic training doesn't come cheap and Annabeth is running out of options— so when a University administrator reaches out with an unexpected opportunity, she'd be a fool not to leap at it... right? Suddenly, Annabeth and Percy — a young hotshot swimmer — find themselves at the center of a media charade that dredges up secrets that were supposed to stay buried. With the world watching, Annabeth is forced to face her past and take control of her future as she learns that, sometimes, life is all about playing the long game.

[vinhteer]

So in the end, I actually want to bring back this reinterpretation series because I get a lot of dopamine from researching and glueing shit together to make something semi comprehensible. (also deeply sorry for the botched Evan drawing, I wasn't looking when I was lasso-ing some of the other drawings LMAO)

When it comes to my designs for YHS, I'm not sure if I already wrote this, but for each of them, I like having a real person + other fictional characters (if needed) in mind whenever I'm designing them.

For Funneh, it was Itsfunneh (as in the youtuber) and Riley from Inside Out. For Gold, it was Goldenglare and another classmate from last year. With Alec, originally it was the Christian Slater who played JD from Heathers (1988), but then when I finished drawing him in the concept art, he reminded me more of a classmate of that same year + a childhood friend that I used to fight for the player 1 wii remote controller. They both had that snarky, blunt personality. One had the boldness and the other one was more mischevious, which I feel like Alec both has. For Kyran, I wasn't thinking of someone CONCRETE, I was thinking more about yk, the vague geek archetype that was rlly prevalent back in the 90s - 2000s (Kyran gives off Big Bang Theory vibes which is a not compliment by the way). I also knew that Kyran would probably give off that "I try to look presentable and cool like in those fantasy medias I consume, I try to look like my escapism, except I only end up reinforcing the things that I don't like about myself" so he just looks like he's in a poorly made cosplay and shifts uncomfortably as he tries to navigate the weird feeling of not liking himself... Even though he clearly has something really cool with him going on, except he's too scared to embrace it because it doesn't fit into typical, acceptable standards... Anyway, so I ended up with that, and as I squinted my eyes looking at him, he reminded me of someone of last year that I lowkey despised. LISTEN, he perfectly fitted into those weird incel criterias as well. For Evan, BASICALLY this friend of a friend acted exactly like him and it was scary as fuck. So it was him and random members from boy bands of the 2010s. Except I wanted him to also look pretty young, just not fitting ENOUGH yet to look like a 20 year old like these boy groups. I wanted him to look like he was LEANING onto that style. I wanted baby fat (to show that he's still a little young and also design wise it just made more sense si For Celeste, she is someone that is completely off from the norm compared to Funneh's friend group-- which makes sense given that she looks like she barely speaks to anyone and is off to her own world. I was very inspired by Fern Mayo's character (who is played by Judy Greer btw) from Jawbreaker (1999) (also I very much enjoy that the only 2 movies I've mentioned yet are both about high school and killing people. OKAY that was poor wording, trust me I am not obsessed with high school NOR killing people, it's just that they both fit into the slightly cynical and "I don't know what this story is about" type beat that YHS has.) She also reminded me of one of my classmates, reminded me of my teacher... And they all share the same quality of being eccentric. For Yumi, I decided to sorta break that rule of only trying to find real people within my character designs because she stands more like a mysterious, 'alluring' shadow. She almost doesn't feel real. It almost feels like not giving her any concrete humans to work with is like stripping her humanity, BECAUSE she is devoid of humanity. I wanted to only get references of DRAWINGS depicting people based on their vibe or their social utilities. I got inspired by Perfect Blue (1997), bijinga paintings (which are depictions of beautiful women that were especially common back in the 17th-19th century, which references Yumi's ethnic roots as well. Also their culture back then, depicting these women in such a way was because that's what they wanted to strive for. They're more like beauty concepts than tangible people, which is perfect for Yumi). The reason why I've been struggling to draw her since then is because I had a specific way of seeing her; compared to the others, she should look perfect, so perfect that they don't look human. I wanted her to look like a painting (hashtag The Picture of Dorian Gray) , sharp on the edges but also smooth at times, can bend from disgustingly menacing to ethereal.

[my-current-obsession]

Something I both love AND hate about FF7 (the original game and everything after, including the Remake trilogy) is that it is just ambiguous and/or player-driven enough that no matter which side of the love triangle you fall on (assuming you do in fact ship Cloud with one of the girls), the majority of fans for that ship are 100% CONVINCED it's the correct/canon option.

Like, certain scenes are definitely up to interpretation, and people are going to thus have varying reads on those scenes and the characters/relationships the scenes are about. It doesn't help that several scenes change depending on the player's choices, which acts as a confirmation bias as you naturally get more time and romantic moments with the girl of your preference. It really seems to me that MOST people who ship Cloud and Aerith have one solid interpretation (with a plethora of supporting evidence) of the series and the romance, while most people who ship Cloud and Tifa have their own solid interpretation with plenty of evidence that is VASTLY DIFFERENT from the Clerith reading of the game.

This is not a case of "one ship is clearly, explicitly canon and fans of the opposition just like their pick better and/or think it made more sense narratively and WISH it was canon" - for an example of that, look to the Avatar the Last Airbender shipping wars. This is a case where both sides literally interpret the story just differently enough that they come to entirely different conclusions about which girl is Cloud's true love. And if either side reaches out to try and explain their viewpoint to the other, they're just met with "uh, no. You're wrong." Try and explain what Cloud might be thinking in a given scene with one of the girls, why he acts a certain way... "That's not it at all, where are you getting this? Are you delusional?"

Like, I am a Clerith shipper. I have played all the games in the compilation and watched Advent Children. I tried to be as completionist as possible, even. And I came out on the other side of really digging into the story of this game loving Cloud and Aerith's dynamic and pretty firmly convinced they were canon. Or as canon as possible in the timeline where she died.

As any Clerith fan who participates in the fandom would know, if you try and explain your interpretation of these characters and the romance to a diehard Cloti supporter... you're met with a lot of "you're misinterpreting! Cloud and Aerith were just friends! She loved Zack to the end and Cloud loved Tifa since childhood and never stopped! Also Aerith is actually BAD for Cloud because she's too pushy/abrasive. She's not helping him open up, she's just forcing him to go along with her and making him uncomfortable!"

All of this is of course infuriating, but I'd like to think I'm self-aware enough to know we are kind of guilty of the same thing. The majority of Tifa fans are SO happy about the kiss in Rebirth, while we're over here dismissing it because, one it's optional, and two Cloud is "obviously" using Tifa as a rebound or settling for her since Aerith is seemingly unavailable. But that's not how Cloti fans see it at all.

We can talk until we're blue in the face about how TIFA deserves better than Cloud because she shouldn't be the second choice - the one he settles for. But I think most people who really love Cloti genuinely don't see it that way. In their eyes, she's NOT second-best. Cloud loved her all along and this kiss is finally confirming that. And nothing we say will dissuade them, just as nothing they say will actually change OUR minds about Clerith.

It is honestly really difficult for me to try and see the story and romance the way Cloti fans do, but I know the reverse is also true. Both groups of fans interpret the characters and relationships differently. The compilation ALLOWS us to interpret them differently. And this is why the ship war for a game from 1997 is still raging on.

Because both camps are certain they're right, they defend their position viciously. Sometimes that means invading the "other side" to tell them how wrong they are. This discussion/rant was prompted by a Cloti fan on a Clerith vid who wanted to debate MY comment about how wonderful the ship was and how good they were for each other. He was "confused" and "concerned" because Clerith fans were reading the story wrong or warping it to suit our ship.

I wanted to tell him, "buddy that's what YOU'RE doing". I wanted to write a goddamn essay explaining why Clerith is canon actually. But considering in my INITIAL comment that he first responded to I'd already brought up why I thought Clerith was great, and he was IGNORING that... I knew it would be pointless. There is nothing I could possibly say that would change his mind. There is nothing he could possibly say that would change my mind.

As long as both sides of this war are fully convinced they're right, this war is going to be endless and brutal. And that's why my absolute biggest fear for part 3 is an open, ambiguous ending regarding the ships. Maybe it will canonize nothing. Maybe it will canonize BOTH by having the actual ending change depending on which girl the player favors.

Either route will offer no relief to this eternal battle. I would honestly prefer for Cloti to explicitly and unambiguously win than an ending where neither girl does. Because I can accept a loss. I can accept being told that actually I WAS interpreting the story wrong, but I'll only accept it from the text itself. If anything, a Cloti ending might encourage me to go through the entire compilation again trying to view it with that canon couple in mind. I'm sure I'd see things differently, even if I'd always have a place in my heart for Clerith. And I sincerely hope that if Clerith were to win that Cloti fans could do the same.

All I know is that I'm sick and tired of this ship war. I personally have never gone after Cloti fans or engaged in Cloti content with the intent to debate or hate on the ship. But I don't speak for all Cleriths. I'm sure at least a few fans of my ship are guilty too. I have seen many obnoxious Cloti fans invading our spaces to disparage us - mostly on YouTube and Twitch, less here on Tumblr - but I KNOW there are plenty of kind Cloti fans who just happily enjoy their ship and leave us to ours as well.

At the end of the day, regardless of how part 3 ends things, I just wish we could live in peace. Please enjoy your ship. Your interpretation of the text and romance is valid. But so is mine. If neither side can agree, then the best thing to do is leave each other alone.