#there are a lot more western indie as well

[lilac-nites]

Lovecraftian-lolita has a really great guide on where to find plus size on a budget and I highly recommend their resource. I'm not entirely familiar with standard sizing but I think you might be able to fit into the below brands, especially if they're fully shirred.

I also recommend the following Japanese brands:

Maxicimam (cdjapan/site) - a Japanese lolita brand with plus size line (Lovely Maxicimam) with old-school/2010s sweet era style

RosinaBlue - a very small Japanese indie brand for plus size lolitas. i recommend a shopping service

Atelier Pierrot - a Japanese select shop for gothic lolitas (and some classic leaning items). some of their items have very generous sizing and they have a size 2 & 3 for some items. i recommend the Douceur Cutsews in sizes 2 & 3 and their fully shirred blouses.

Enchantlic Enchantilly (jpn site/wunderwelt retailer)- another Japanese indie brand with fully shirred pieces

Here are some more Western Indie brands:

The Black Ribbon - some items have a bust size up to 50'

Sleepyland Shop -

A. Gato Designs

Dearest Victoria - occasionally, she'll make skirts or JSKs for sale. I'd follow her insta to see when she drops one

Night Whisper Lolita

Haenuli

Eat Me Ink Me - custom sizing for garments

Duchess Milianda - custom sizing for classic lolitas, especially if you like JetJ. some items are more historical than lolita

Fluffy Tori - some items go quite large

For Taobao, I mainly use resellers to get items from Chinese Indie brands but I use 42 lolita. I recommend Hard Candy, Sakurada Fawn, and NanShengGe. Some brands also do custom sizing.

For more help, I'd join the Plus Size Lolita comm on Facebook for even more help and resources. I also use lolibrary religiously when buying any of the brands mentioned above secondhand to make sure that items will fit.

Here im midsize-ish (XL and XXL for comfort) but in Asia im obviously. A lot bigger (6XL) according to a size chart (I know my sizes in cm I got measured today) Where could I find a good lolita shop that supports the not really petite and isn't not frowned upon ?? ^_^ I'm new to this also sorry if you said this 10 billion times I'm also not sure what 2 search T_T

i do have some tips on this topic that i've picked up here and there! though i don't have personal experience with this, so admittedly my knowledge on this is a bit limited and not as fleshed out as i'd like it to be..

i would generally recommend looking for pieces that have shirring. (the stretchy material often found on back panels of dresses, tops and sometimes waistbands) the stretchiness of the gathered fabric allows for a more "flexible" sort of fit, rather than just fitting the base measurements. for most brands, i believe JSKs are often a bit more forgiving than OPs due to the shoulder measurements being a bit narrow for some releases.

now, i don't know your exact measurements.. so be sure to double check the size portion at the bottom of the pages for each product (not sure if it differs from item to item) but metamorphose carries plus size friendly items here. i don't know your exact tastes, but the flower print mary ladder lace is a particularly cute JSK that's in stock now!

glitter tale is an indie brand i know of that offers custom sized lolita, which will be great since you just got measured! the tartan old school JSK they make is beautiful!

sellers on lacemarket will indicate if an item is plus size friendly, and some items that have been altered will pop up occasionally! here's a link to a search for plus size items and one for altered items. i recommend to always check if the alteration is suitable for your measurements and if it's been altered by someone with an understanding of lolita pieces, as they are quite different from regular alterations.

@lovecraftian-lolita offers a very helpful resource, (and a lot more thorough than this answer!) an archive of plus sized brand items along with their measurements if you'd be interested in checking that out!

and as always, if anyone has any advice, please feel free to help out!!

[bishiedoll]

Western literature & shoujo manga.

If you're, like me, someone whose passion is old shoujo manga, you may have noticed that at least one or more of your favorite mangaka has written manga adaptations of famous American and European novels. But why ?

According to this essay by Kawabata Ariko and Murakami Riko, in the early 20th century, because there was no Internet, people had no choice but to rely on big bookstores to learn more about and to purchase foreign novels. It was therefore not common to read them. The Iena bookstore, located in Ginza, was a rare indie bookstore that sold art-related foreign books and, while unfortunately, the store has closed today, many shoujo mangaka remember going there often to look for reference material amongst foreign works.

This other essay by Oogushi Hisayo states that foreign novels were only broadly introduced in Japan for young girls in the 30s. Famous girls' magazines (which are to be differentiated with shoujo magazines) such as Shoujokai (created in 1902), Shoujo no Sekai (created in 1906) and Shoujo no Tomo (created in 1908) started introducing Western literature in their issues from the 1930s to the 1940s. Works such as "The Little Princess", "Heidi", "Little Women", "Daddy Long Legs" and more were published in these girls' magazines, making them more known to the Japanese audience and resulting in shoujo manga adaptations in the following years.

Little Women illustrated by Nakahara Junichi in the Girls' magazine Shoujo no Sekai.

Three works in particular seem to have gained a lot of popularity in the 40s: "Little Women" by Louisa May Alcott, "Heidi" by Johanna Spyri and "Anne of Green Gables" by Lucy Maud Montgomery. All three are coming of age stories of young girls, and all three have one theme that seems to stand out: family. In the aftermath of WW2, many Japanese lost their families and many young children became orphans. In such times, novels that showcased happy families comforted Japanese readers. The popularity of these three works did not end in the 40s though, since in the 70s and 80s, all three got their 50 episodes anime adaptation in the Calpis Gekijou series (also known as World Masterpiece Theater), which, by the way, I highly recommend watching.

It is to be noted that these three works also became popular because they showcased independent and developed female leads, which has since then become a staple of shoujo manga itself, regardless of genre.

Heidi by Macoto Takahashi, Anne of Green Gables by Sakamoto Midori (1977) and Heidi by Watanabe Masako (1966).

In the 70s, a few mangaka published works that reminded critics of the "Bildungsroman". The Bildungsroman is a literary genre born in the 1800s in Germany, and it is a sub-category of the coming-of-age story. The Bildungsroman stands out from regular coming-of-age stories by focusing on the psychological and moral growth of its protagonist. Examples of that would be Moto Hagio with The Heart of Thomas in 1974 and Takemiya Keiko with Kaze to Ki no Uta in 1976 (though she never intended to write a Bildungsroman). The West was still shown in a more traditional version in these works, as both stories take place in old catholic boarding schools.

Similarly to how Audrey Hepburn, a Hollywood actress, was seen as a fashion leader in Japan (more about that on my other post about her influence on shoujo), Japanese people at the time had an idealized view of the West and anything from the Western world seemed fashionable and trendy. A great example of that is Sanrio. If you look at early Sanrio characters, a lot of them are from the West: Hello Kitty is British, the Little Twin Stars were inspired by Christmas, My Melody by the little red riding hood, Jimmy & Patty are American etc.

This view of the West began to shift in the 80s and the western literature that inspired shoujo mangaka started to change as well. Instead of comforting, idyllic stories about family life in a traditional American or European country side or stories taking place in traditional European catholic schools, manga inspired by more realistic and contemporary works started publishing. For example, Banana Fish by Akimi Yoshida (1985) draws inspiration from "A Perfect Day for Bananafish" by J.D. Salinger and two of Hemingway's works: "The Snows of Kilimanjaro" and "Islands in the Streams". All three of these focus on either modern issues like overconsumption or darker themes like death and loneliness. The change can also be seen in the gender and age of the protagonists. Instead of being about young teen girls that shoujo readers could identify with, Banana Fish is about adult men. The inspiration is also a lot more loose, and instead of an adaptation, there are only references to J.D. Salinger and Hemingway's works throughout the manga.

The Heart of Thomas by Moto Hagio (1974), Banana Fish by Akimi Yoshida (1985) and Alice in Wonderland by Mutsu A-ko (1983).

To conclude my post, I really wanted to include this line from the essay by Oogushi Hisayo: If America (can apply to the West as a whole) was once the backdrop of stories for those who yearned to read about "somewhere that is not here", it has, from the 80s onward, become the backdrop of stories for those who yearned to read about "the now and here".

[aroaceleovaldez]

you're like the first blog i thought about ranting on this to but it drives me up the wall that some people treat any criticism aimed at tsats2 as being anti-ship or avoidable via just "not reading it". i dont think they realize that we're talking about a bigger issue of soulless commercialization and heavy quality downgrade of a franchise, not like. about an indie author publishing a fan book lmao

'i'll read it anyways haters gonna hate' crowd likely largely funding richard's mediocrity is sad.

I think part of it may have to do with a.) a lack of distinction in recent fandom culture between "Fandom" and "Audience" (alongside other recent fandom culture attitudes as well) and b.) so much of Rick's brand is built up exactly on parasocial behavior that a lot of fans get caught up in it. [under cut cause this got long:]

Re: The first, more recent fandom culture tends to treat "Fandom" and "General audience" as wholly equivocal. Because of this, the concepts tend to bleed into each other in a way we haven't quite seen before fandom became mainstream, and as a result we get a kind of Worst Of Both Worlds situation - a bunch of very passionate fans who have no community, create little to no fanworks themselves (only consume), and only engage at a surface level with the source material. Their only "fandom" community hub is the source material and official social media and they don't have a concept of how to exist outside it, unlike folks who are more used to older fandom culture and are self-sufficient. They have the passion and identity of classic fandom, but none of the depth, and so threats to the source material feel like threats to their community as a whole. They also just don't seem to understand that different subsections of the deeper fandom community are engaging with the material on an entirely different level, or they don't understand why they're doing that. They see no need to because they're never actually engaging with the community or source material beyond a surface level. Functionally they don't have a community. And mainstream media is actively encouraging this because it's profitable for them - they're reaping all of the rewards of fandom, minus the fact that because of the lack of actually community and support structures the entire "fandom" will only have a shelf life the same length of the source material. But at the same time this means they don't have to worry about quality or etc, because this extremely passionate side of their audience will just take anything thrown at them and it'll phase out almost immediately. It doesn't need to be good, it just needs to elicit some kind of reaction on social media. Any publicity is good publicity type stuff.

This lack of true community plus the parasocial emphasis the RR company has tends to make these types of fans double-down. Rick and co. are explicitly advertised as being both part of the "community" and integral to it. And when they've built Rick (and co) up as this moral paragon critical to both part of their identity they're very passionate about and what little of a community they have, any attack on him feels like an attack on themself. Particularly when so much of the publicity and marketing surrounding Rick right now is about his alleged activism when a lot of the criticism about him and the series is actively calling that into question with his unaddressed internalized bigotries. Acknowledging that what Rick is saying and promoting himself as versus his writing and actions don't always line up and pointing out the bigotry present in his work forces people to acknowledge and think about performative activism, which can make a lot of people very uncomfortable! It's forcing them to acknowledge "Oh, even if I'm saying all the right words and calling myself an ally, I am not immune to being bigoted if I don't address my internalized biases. My actual behavior matters." and that especially can feel like a personal attack. Especially in today's western landscape of media consumption being viewed as a moral act in itself.

I suspect this is why a lot of the retaliation against criticism of Rick and the franchise right now is "Why can't you just have FUN? You're just trying to hate for views. Don't take it so seriously! It's not that deep!" - they not only have no interest in engaging deeper in the material, but don't understand why others would, and doing so jeopardizes the foundations of what they consider the fandom. They can't fathom anybody legitimately having these criticisms (particularly not anybody who would ACTUALLY consider themself a "fan" - because their perception of "fan" is themself) because they're so resistant to digging deeper into the media/source material or the concept that anyone would for any legitimate reason (because as long as they keep it as "it's not that deep!!! it's just fun! just enjoy it you wet blanket!!!!" and take things at their word, they can feel secure in that performative aspect and not have to unpack it), and acknowledging that those criticisms exist and are valid means they have to acknowledge the franchise is flawed and imperfect, so they presume the claims are entirely superficial and the individual has ulterior motives rather than, yknow, doing what fandom does: diving deeper.

[canonsinthehead]

so hows the night life in the villages? which is the best and worse? 😸😸

Glad you asked... there are few topics ni the answer ill go deeper in another post but i hope yall get the picture...

Naruto Headcanons - Ranking Nightlife in Different Villages (from best to worse)

1- Kumogakure (THE Party City)

Obviously Kumo takes the first place for its unmatched nightlife culture. It is alive at night and very welcoming of foreigners, some people make a whole trip to Kumo just to party.

There are sooooo many nightclubs of different types. Hip hop, Pop or Western etc. Kumo is known for being the only nation to have stripclubs. other countries, always claim to be more conservative in that area. it ties into the more liberal/accepting expression of sexuality (especially from women).

everything is intertwined when you look up the country's music history. Many famous artists strated in nightclubs.

The city lives at night, many sports clubs are operating during dark hours and inviting the night owls to join in. Along this, you can take all types of classes/courses taking place at night if clubbing is not your cup of tea.

Kumo is so diverse, there is a district/area or stores/businesses for all types of preferences, interests or way of life. Are you LGBT, plus size, disabled, a salary man, vegan, emo, a sneaker head or whatever it is, you will find a place for taste.

it has become a challenge some residents (and tourists), to make a 6PM to 6AM Challlenge. where it consist of staying awake and indulging in the nightlife until sunrise. it was popularized by an episode of Killer Bee's Showtime where they came up with the concept and has became a legit tourist attraction since theres so much to do

2- Konohagakure (6 to 9 Heaven)

In Konoha, a lot of people have a 9-5 schedule so big part of the village nightlife is centered around "after work" activities. When you go out on weekdays, you will mostly encounter employees trying to unwind after a long workday

regardless there are so many activities to do after the sunset. the most popular are karaoke, hot springs and street food stands.

Konoha's foundation being a mountain, there are many hidden spots hidden in its complex foundation. when look over it, you can observe spots of hundred of spotlights all over the city because small goups loves to meetup in various places and just chill together

the largest cinemas are located in Konoha. it one of the few places where you can go watch movies from other nations to the exceptions of Kiri for their heavy censorships laws and Suna for being in a different language.

Cabaret clubs are huge in Konoha.

you can find many 24/7 ramen shops and Internet Cafes

The comedy scene in Konoha is big. off course it doesnt match Kumo's but Konoha produced many well known comedians. All the "Comedy Open mic nights" are to die for.

Konoha scored high also for being a welcoming nation and embraces tourist/foreigners with open minds.

3- Iwagakure (Rock 'n' Roll)

if you are looking for a good music concert to attend. especially for rock and indie music.

it scored lower because many of those locations (to party) and the culture surrounding them are sometimes hard to find

mixed with the nightlife, Iwa has a strong adult entertainment industry. There are countless soaplands and burlesque show, again only if you can find them

(Honorable Mention) 3.5 - Modern Kirigakure (Work in Progress)

On the way to become like Konoha (along with their own sauce) but is not there yet

outside of the capital, they still operate like the previous system like the rest of the country of water.

4- Sunagakure (Organized Events)

The nightlife of Suna is more made of organized events where mass of people attent. The largest venues happen on Fridays since there are a lage diversity of shecdules among the population but everthing stops from Friday night to Sunday morning.

A typical night activity is enjoying tea, there are hundreds of tea stands across the country, sometimes even in the middle of nowhere for travelers during their long journey in the desert. they along serve flavourful whiskeys and tasty snacks. It is the #1 socializing spot.

The food is to die for. The culinary scene of Suna is unmatched, with all the ingredients natives to the regions it gives unique meal you cant find anywhere else. there are many restaurants of all types open until the early hours of the morning.

Live performing is a very prevelant part of Suna's nightlife,

A lot of night activities are meant to be enjoyed in large numbers especially among families since many of them are large.

the problem is that Suna is really weary of tourists/foreigners, so accessing certain areas, restaurants or pubs may be denied because they require invitations. That would limit your acess to tea houses and restaurants in the main city/touristic areas where the inflation is crazzzzyyyyyyy for outsiders. Also the language barrier doesnt help...

the best deal would be to be invited among someone's familiy and celebrate with them, it's just as good as going out

5- Old Kirigakure (Dangerous Territories ahead...)

It is advised for regular citizen (especiall women and children) to stay inside as soon as the sun sets. They say the freaks come out at night, all criminals and gang members come out after nightfall. they occupate various pubs and bars. The city is dual face because it is literraly re-birthed at night for a whole different aura to plague the city at night.

most illegal activities take place at night.

there are a lot of brothels operating under criminal leadership. along with illegal/dubious boxing matches and fight clubs where gambling happens.

Gambling is no joke, it is a serious widespread practice where you can witness (and participate with) players with dices on street corners.

At all time, territories are clearly separated, either by criminal affiliations, ethnicities or caste levels. cross it and will likely pay it with your life.

as a foreigner, if you fit the physical attributes of the local men, you could go unnoticed for some time but it adviced not to even try since you may be cooked when people ask for your paperwork to enter certain spaces. also even if you make and get "accepted", the wrong gesture, word could lead to a misunderstanding and escalate into violence

Kirigakure is male centered society. 90% of the people outside at night are male. many levels of society caters to them hence why a lot of adult males without criminal affialition have no problem going out at night to drink their souls away.

you can witness public intercourse

going on the previous point, there is a deep (but hidden) male LGBT culture running in Kiri. many of them are affiliated with various gangs or crimelords like Gato. Some would suggest that homosexuality is lowkey normalized among gangs (do the homie) but it will never be confirmed. So if you know where to look, are determined (crazy) enough, and looking for a hookup with a tattoed muscular dude with a questionable (dead) body count, then go ahead.

Ironically, the gigolo scene industry is as large as female adult entertainment/prostitution in Kiri. they are not going to tell you that most of them are gang members who fell from grace/punished for making mistakes or literal human trafficking.

6- Amegakure (DO NOT TRESSPASS)

RAVES. The rave culture is unmatched. If you are looking for hardcore parties with moshpits and loud eletronic music you are looking at the right place.

The night culture is really the bulk of what there is to do in Ame, its residents uses thoses parties and alcohol to escape for the reality of their daily lives.

Like everything in the country, it is so hard to acces and it doesnt like outsiders not even a little bit. most of them are not allowed to even enter the city's walls.

There you can find the HARDEST drugs in the entire world. Addictions is a real issue in Ame but when i mean hard i mean amnesia (you forget your life before you consumed it) type of hard

if you go there, you 10000% getting robbed.

thanks yall for your request, that was fun to do. hope the formatting is not too much.

shoutout to @getyourmindrightson, @oceanjenna! thanks for the support.

[ask-the-prose]

Building a Character Arc

Hi all! These past 8 months have been a busy time huh? I’m back and hoping to jumpstart this blog with a bit more organization. So let’s get started with our next guide!

We talk a lot about worldbuilding and plotting out stories, but there’s an important factor I haven’t seen much discussion around, and that is: character arcs.

We’ll be covering character building next week, as that will build off of this post. But building a character arc is just as important as knowing all the static facts about a character and how they react to the world you’ve built around them!

What is the character’s purpose?

We love to imagine our characters as people and real in our heads, but ultimately they are a tool to tell a story. So when building your character arc, you need to know what the purpose of this character is. How do they serve the story? How do they enhance the themes?

Characters can have tons of purposes, from the protagonist to the antagonist to cannon fodder. Characters can serve multiple purposes at one time, even. So what do you want your character to do for the story?

An example: in The Hunger Games, Gale Hawthorne serves a purpose far beyond just love interest #2. Gale helps propel the plotline in a number of ways. He spurs Katniss into action when he is whipped in the town square, he challenges Katniss’ worldviews both directly and indirectly by proposing ethical and complex questions that Katniss must later answer, and he’s symbolic of an answer to the main theme of the books. He isn’t relegated to just one of these purposes, but he does have to have one otherwise, he would be irrelevant words distracting from the actual story.

What changes within the character? What doesn’t?

Characters can be divided into two categories: static and dynamic. Static characters stay the same over the course of the story, whereas dynamic characters do not. So a good question to ask yourself when building a character arc is what, if anything, changes about the character over the course of the story?

One important factor to consider is the character’s attitude towards the world, the conflict, or the other characters. If that changes, how does it change? Why? What happens to cause that change? These questions can be applied to any number of factors you wish to include, like a character’s opinion of themselves or another concept, a character’s worldview, or a character’s feelings towards their circumstances.

If the character is a static character, why? Does it serve the story’s themes?

Is your character an active participant or reacting to plot events?

Naturally, a character reacts to events and responds to those reactions through action. But do those actions actually affect the plot? Does the plot happen to the character or does the character act and consequences follow?

These seem like plot building questions, and they are, but it’s critical to understanding your characters as well. Characters that always react to the plot and have little consequences for actual actions taken tend to be placed in the “reactive” category. While I can’t speak to every style and story structure, most traditional publishers and western audiences prefer active characters over reactive characters. They want the character to impact the plot, their actions have natural consequences that push the plot forward.

Reactive characters can absolutely be utilized to tell interesting and compelling stories, though, so don’t throw out the whole story if you find your character is more reactive than active.

Conclusion

So you’ve created the plot and the premise and you need to populate your world with characters! Remember these key points in building a character arc: purpose, change, and action. Hopefully this guide can help you get on the road towards creating a character arc that not only compels your reader, but enhances your themes and serves your story.

-- Indy

[coimbrabertone]

Formula One's 1963 Christmas in South Africa

The Formula One World Championship initially struggled with the whole "World Championship" thing.

The initial calendars consisted of a smattering of European races and also the Indianapolis 500...which nobody from Europe (except Ascari) ever attempted, while nobody from the Indy 500 came over to F1 either, not in those days anyway.

Hell, come 1952, and with Alfa Romeo and Maserati pulling their factory teams - leaving Ferrari as the only major team left standing - the championship was run to Formula Two rules, meaning that it was neither Formula One, nor much of a World Championship, amusingly enough.

By the time the 60s rolled around, things started to change.

The Indianapolis 500 had faded off the calendar as the United States Grand Prix settled on a home at Watkins Glen, New York.

In 1962, it was joined by the South African Grand Prix, and in 1963, by the Mexican Grand Prix.

The first seven rounds of the 1963 season were in Europe, but then two rounds in North America with the USGP and the Mexican Grand Prix, followed by a trip to South Africa at the very end of the year, made for a more international appearance.

Now, it was still very much western - keep in mind, this was Apartheid era South Africa, so this is a far cry from a diverse and inclusion calendar - but three continents was an awful lot better than one.

The position of the South African Grand Prix on the calendar was also noteworthy, as it typically occurred in the last weekend of December, so between Christmas Day and New Years.

In 1963 for instance, it was held on December 28th at the Prince George Circuit in East London.

That's three days after Christmas, now consider practice and qualifying, flying the whole circus down to South Africa, and the fact that the non-championship Rand Grand Prix at Kyalami took place two weeks earlier, and...I'd imagine a significant portion of the F1 grid spent their Christmas on the Cape.

Jim Clark would be in high spirits, having been the runaway championship leader in 1963 and sealed up the title by winning the Italian Grand Prix at Monza.

A BRM 1-2 at Watkins Glen - with Hill ahead of Ginther - would keep Graham and Richie happy as well, but Clark bounced back to win the Mexican Grand Prix in what was, at that point, just him and Lotus padding their stats.

John Surtees, meanwhile, began the South African adventure with a win at the Rand Grand Prix in his Ferrari, giving him reason to be confident going to East London as well.

Speaking of Hill, Ginther, and Surtees...

They were all fighting for best of the rest behind Clark.

American Richie Ginther, driving for BRM, sat in second on 29 points. He hadn't won anything yet, but he was the most consistent all season, having only retired once in France. That consistency was working against him though, since only the best six results counted for the championship. As things stood, Ginther would need to finish at least third to improve his points total, which in turn would knock his fourth place from the Belgian Grand Prix off the table.

Graham Hill in the other BRM, meanwhile, sat on 25 points and had two wins to his credit - Monaco and Watkins Glen - along with a podium at Silverstone and a fourth in Mexico. Hill also technically finished third at Reims, however, that required him to push his car over the line, therefore, the points did not count.

Hill could sit on the Jedi Council, but he was not awarded the rank of Master.

Anyway, this meant that Hill was behind, but he had the overhead to increase his points tally while Ginther didn't. On top of that, his two wins to Ginther's zero meant that Graham would win any tiebreakers.

Motorcycling world champion turned Ferrari driver John Surtees, meanwhile, sat on 22 points courtesy of a fourth at Monaco, a third at Zandvoort, a second at Silverstone, and his win at the fearsome Nürburgring. He also had the overhead to catch Ginther, but from seven points back...he'd need to win.

Could Surtees make it two from two in South Africa in 1963?

Well, not if Jim Clark had anything to say about it. The Scotsman put it on pole, followed by the Brabham teammates of Jack himself and American Dan Gurney. Surtees was a respectable fourth though, and with his teammate Lorenzo Bandini between him and the BRMs, maybe he had a chance after all.

Alas no, because Surtees' engine would blow after forty-three laps of the Prince George circuit.

Even if it hadn't, there was no stopping Jim Clark that day, who won by a minute over Dan Gurney in the Brabham - who, fun fact, took the Brabham team's first fastest lap that day - then it was Graham Hill completing the podium. South hemisphere boy Bruce McLaren was fourth, followed by Lorenzo Bandini in the Ferrari, and midpack regular Jo Bonnier completed the points in sixth.

This was Jim Clark's seventh win of the season, and because of the whole best six results thing...it turned out to be completely unnecessary. Clark already had the perfect season in the books - like I said, he was just stat padding on the fools.

Fortunately for everyone else, by 1964 the skill-based matchmaking caught up to Jim Clark and the Lotus team would stumble that season, handing the championship battle over to Surtees in the Ferrari and Hill in the BRM, a battle which Surtees would eventually win by a single point.

The South African Grand Prix, however, was not held in 1964, as it had slipped to New Years' Day, 1965, acting as the very first race of the 1965 season instead.

Jim Clark would win in East London, would miss the Monaco Grand Prix to compete at the Indianapolis 500 - which he won - and then proceeded to win the next five races in Formula One. Once again capturing the perfect season.

This can only mean that there is a direct correlation between South African Grand Prix at East London and Jim Clark dominating the championship. The evidence is there people.

Anyway, I hope you enjoyed this little blogpost about the time that F1 raced mere days after Christmas.

I wish you all a Merry Christmas, a Happy New Year, a Happy Honda Days, a Lexus December to Remember, and a Toyotathon is On to all, and to all a good night.

[arimiadev]

Developer Interview — Making A Date with Death

6 months ago, a brand new self-insert romance visual novel hit the market called A Date with Death, created by visual novel veterans Two and a Half Studios. Coming off of the success of The Divine Speaker, they dived into the chat sim space in visual novels with a huge splash. A Date with Death is currently sitting at over 5,000 positive reviews on Steam with a Kickstarter for an after story launching this week.

Read the interview on my blog or read it below.

Arimia: Hi Gabby, thanks for sitting down to talk about A Date with Death! Both of us have been into visual novels for quite a while, but what got you into them?

Gabby: I feel like my introduction to visual novels was probably similar to a lot of people my age…. and that was being on Tumblr too much and being introduced to Dramatical Murder much too young, and installing the fantranslation for myself and all of my friends, hahaha. From there I played the rest of the N+C games, and then moved to things like No Thank You! since it had a translation. After that I moved further to Japanese games that didn’t have a translation. These were 95% BL as well – I’ve played one or two otome games in my time but never really been super into them.

Actually, when I first got into development, I hadn’t played any Western visual novels yet. It was only after I started in game development that I tried more indie visual novels in general.

As for my favorite VNs, I have a few favorites! My first favorite and it’ll always have my heart is Lamento. It was kind of the culmination of a lot of different things I love in media, and I still love the game. There’s another untranslated game I really like called Pigeon Blood. I actually helped with some editing of translations for some of the routes a looong, long time ago. A more recent favorite, and probably my favorite overall, is MAMIYA! MAMIYA is a Japanese indie visual novel by KENKOULAND which I will happily shill over my own games (LOL) about a group of people at the “end of the world”. The way the story is presented, I don’t think I’ve ever played anything like it, and I found it very inspiring. I was lucky enough to work with the creator Kokoroten on an animation for my own game Dreambound, which was fantastic.

Arimia: Would you believe I’ve never played DMMD? Definitely cut from the same cloth though about being exposed from too much Tumblr time and hearing about all of these Japanese VNs that would never get localized over here, but now Fate/Stay Night is coming to Steam in a few months…. the visual novel landscape has changed so much.

You’ve worked on several boys love and girls love titles before A Date With Death that are more in the fantasy historical realm – how did you come up with the idea for ADWD?

Gabby: Well, we’d actually been wanting to try something more modern for awhile now, despite our love for fantasy settings, and we only happened across a screenshot from another developer’s chat sim and I kind of fell in love with the format. I’ve been really wanting to try my hand at something “cozy”, and though A Date with Death doesn’t really sound cozy on the box, we have a lot of features that I think set well with that crowd. I’m a very big fan of the informal aspect of the writing. I think even in my more serious games, I always lean into humor a little bit and I really enjoy writing banter, so the chat sim format was perfect for that.

(I styled my MC after my character Rose. he’d probably wind up in a shady chatroom like this)

Arimia: Having played some of A Date with Death, I can definitely see how it’s more “cozy” than some of your other games, and I think a lot of the player reactions I’ve seen have shown that too. The overall scope of the game is also on the smaller side, despite the player customization. How did you go about deciding the size of the game? Were there any parts/features you wanted to include but didn’t?

Gabby: Actually, the size is a lot BIGGER than we originally planned. Being our first free to play game, it’s always a little bit of a risk to put a lot of money into something when visual novel development is your livelihood, and obviously with a free game there’s no guarantee of a return. We originally planned for each “day” of the game to be only around 2000 words, for a grand total of 14,000 words for the game. Very short and sweet. Over the development we realized we had a lot more words than originally planned that we wanted to tell, and part of that is owing to just how many choices and options there are. There’s some conversations in the game which people are honestly surprised about because they’ve never managed to get them on any of their playthroughs. The game actually ended up being around 60,000 words, and this should be near doubled when Beyond the Bet releases.

We also included a lot of other things that weren’t originally planned when we concepted the game. We knew we wanted character creation and some degree of room decorating, but we also added a lot of small missable content – like interacting with your pet, watering your plant, reading books on your bookcase, minigames and websites on your computer, eavesdropping on your neighbor… the one thing we had originally planned but cut was voice acting. It’s something we really wanted to do, and we wrote Casper’s character with a very talented voice actor in mind, but it was a bit too much of a risk with the price of it and the unknown of releasing a free game but still making money on it. We don’t believe in having people work for us for free, even on free projects or jam games, so it wasn’t something we were prepared to have someone do for free even though I’m certain we could have.

Luckily, in the end we decided to hold a Kickstarter for the project, and that allows us the possibility of adding voice acting if it goes well!

Arimia: Yeah, it’s definitely a risk to spend so much time and effort on a free project, but I’m glad it worked out in the end. When announcing the game, what was your strategy? Did it differ any from how you announced and marketed your previous games?

Gabby: It was a little different! This is the first time we’ve had TikTok as one of our platforms when announcing a new project, and we knew we wanted to focus a lot of our attention there. Video content is very strong performing we’ve found, but it is definitely a skill in and of itself. We spent a lot of time honing down on our hook and how we could make people get it in a single line. On a platform like TikTok, you have a split second to catch someone’s attention.

We also had a much shorter amount of marketing time than our usual multi-year projects. We knew we wanted it out within a few months of announcing it, so we needed as much impact as possible in a short amount of time. We knew we wanted to get an animated opening since it can be a very powerful piece of marketing material, and I think that was a great idea and we’ll likely continue it going forward.

At the time of announcement, we had less than 10,000 followers on Twitter. Twitter is probably my favorite platform, but it was kind of falling off for us a little when we were ready to announce A Date with Death – but it just took off after we announced the game. We had a multi-month document with marketing beats and announcements we’d make over the few months we had, but with everything taking off much more than we expected we added to it a lot. I think you always have to be ready to adapt to change quickly in this field.

We actually never planned to market the game as “tease the babygirl”, but it’s something fans latched onto, and you can’t make that kind of marketing yourself, I think. We really leaned into our audience and what THEY thought of the game, and used that to our advantage in a way. I’m very thankful for whoever first asked if he was a babygirl.

Arimia: Twitter (was) probably my favorite platform too, mainly because it’s so easy to just make a quick post or update. TikTok has so much reach but it’s just so much easier to tweet a meme out somedays.

A little side question- with the name having the word “death” in it, were you worried about SEO / being censored on social media, or did it affect you? When I was creating Drops of Death years ago, I was worried social media platforms would suppress posts about it but ultimately went with it because it fit with the serial killer theme.

Gabby: Actually we weren’t too worried about that – we’ve definitely used words like death, kill, murderer, etc. in relation to our other games before and haven’t have much trouble. There ARE certain words especially on TikTok that it’s best to censor, but I haven’t had any problem using the name anywhere and we were prepared to risk it to use the name we wanted.

Arimia: It’s definitely a catchy name that summarizes the experience well. Back to the part where when people were first getting exposed to the concept and came up with Grim being a babygirl— how would you advise other devs to understand what keywords and pitches work better for their games?

Gabby: My first suggestion is to look at similar games to yours and the words they use. Look at the concept of your story and try to boil it down to a paragraph, then a sentence. Look at what makes your game unique, or how you can lean into what fans will get out of your work. Give your players elements that they can recognize instantly without a lengthy explanation.

“A romance chat sim where you flirt with and/or bully the Grim Reaper”

“Compete against the Grim Reaper to keep your soul… or die trying”

“Create your custom MC and flirt with the man trying to take your soul”

I use all of these in our marketing, because even though there’s a lot more to the game we’re not talking about, this is a hook that can capture someone’s attention straight away and then you can funnel them to your game.

Arimia: Getting hooks down can be such a difficult part but it’s so, so important. What do you think helped you most marketing-wise?

Gabby: It’s a tough question. We did a lot, and had huge amount of attention from all over the place and it just snowballed more, and more, and more. I think honestly what started the snowball was TikTok. Once we had one video go big, we were having multiple a week go 30k-400k views. We were getting 500-1300 wishlists per day for months. A lot of people joined our Discord from there and went to follow us on Twitter. TikTok is hard and the format is a lot to handle when you’re new to the platform, but it was absolutely worthwhile for us. Another thing I’ll quickly note – reuse your content. I just repost my TikToks to Insta Reels and they get a similar, if not more views, for no extra effort.

View this post on Instagram

A post shared by Two and a Half Studios (@twohalfstudios)

Arimia: Yeah, it’s wild how quickly TikTok can blow up for someone. I’ve had posts get 100k+ views and then a few posts later they’ll struggle to hit 1k.

Side note: Gabby has written about her experiences with TikTok on her blog. You can also read about my discussions on TikTok marketing for visual novels here.

What do you think was the least effective thing you did for marketing?

Gabby: I suppose Steam events this time around kind of paled in comparison to our own marketing efforts. They’re always worth doing though – any Steam events you can get into, participate in them! You’ll always see some kind of return. But for us, an event giving 200-300 wishlists was just a drop in the water. Not at all not worth doing, but certainly it wasn’t a huge focus for us this time around.

[A]ny Steam events you can get into, participate in them!

Apart from that, I posted also to some other social media sites like bluesky, but I didn’t find it very worthwhile and stopped rather quickly. There’s only so much time in a day, and as the only person handling all of the marketing, it just wasn’t worth it.

Arimia: For newbie devs, what would you recommend they focus on? TikTok, Twitter, or something else?

Gabby: I think TikTok is the easiest platform to hit it big on “fast”. I say “fast” because it’s not guaranteed that you’re going to hit it big, it really depends how well you adapt to the platform, but your content there has a chance of being seen, even without any followers at all. That’s probably why I recommend it as a platform for new and old visual novel devs alike.

I think you’ll also find that once you pick up the format, it can be pretty fun to make. I think platforms like Twitter are easier to use, but getting started on them is hard. VNs are so visual heavy so we already have so much content that works well on TikTok. Of course, there could be problems in the future with using TikTok in the US, so we’ll see how that goes.

It’s best to focus on a few places though, and not to put all of your eggs in one basket. When you’re putting your audience in places that can go away, it’s always a risk, so it’s good to spread them between places like TikTok, Twitter, Tumblr, etc.

Arimia: Yeah, I think one thing devs forget is that these social media platforms are ran by big tech that don’t care about the little guys – if your account gets banned or falsely flagged, what are you going to do if you can’t get it back? Always best to have more than one site you’re posting on, but you don’t want to spread yourself too thin.

At what point in ADWD’s development cycle did you start marketing it? It was a pretty short development cycle to begin with.

Gabby: We started working on the concept of A Date with Death January of last year, and announced it on the 5th of July. This wasn’t really 6-7 months of dev time though – we were working on two of our other games at the time. By that point, we’d finished maybe half of the game and announced the game in time for the Steam Visual Novel Fest a month later.

This was actually pretty successful for us, and gave us a decent boost to start from. We then released the demo at the end of September in time for Steam Next Fest, which was a bit more meh for us despite going in with a high wishlist velocity. We then released the game at the start of December. But, like I said, we were working full time on Dreambound and The Divine Speaker: The Sun and the Moon, so I think we could have made it in much less time if we didn’t have other games on our plate.

My suggestion is to announce the game and start marketing early, but not so early you run out of content you can post. My strat is usually announce the game at the same time the Steam page is ready, so you can use the announcement to drive people straight to it. A trailer can be another marketing beat, and then lead up to the demo release. Going in with a solid marketing plan is a great idea, too.

Side note: despite the short amount of time to market the game, they were able to enter it into at least 2 different Steam-ran festivals! That’s a great boost to wishlists and they usually don’t require much work from yourself.

[A]nnounce the game and start marketing early, but not so early you run out of content you can post.

Arimia: Once you’ve worked on a few games it’s a lot easier to gauge when that sweet spot is, but when you haven’t it’s definitely hard to figure out. I usually go with how much progress I have towards something playable like a demo. When ADWD was ready to release, how did you reach out to press?

Gabby: Actually, I didn’t sent out any press releases for the full game! I can’t tell you exactly if this was a good thing or not – but the way I’ve done it for all of my other games is that I send out a press release and streamer keys for the demo only. Especially for A Date with Death, we already had a lot of press and streamer interest naturally, so we decided to use our time for other forms of marketing and polishing up the game instead.

For the demo though, we curated a list of ~70 people to send out early keys to. I think this is quite worthwhile in hyping up the demo release, and it’s quite easy these days with tools like sullygnome.

Arimia: What lessons learnt from your previous games did you bring with you when making ADWD?

Gabby: We’ve been very lucky to work with our amazing artist Fuyuure for over six years now, so we came in with a great team who worked incredibly well together. I think that was a big bonus – working on something like a big character creator can be a difficult task for many artists, because of the sheer amount of assets you need. So, I would say coming in with a talented team who were ready for their tasks was a massive boon.

I think working on so many games beforehand prepared us to make the game in the time we did. We usually work on bigger, multi-year projects, and this was our first proper commercial endeavor into a smaller game. Our experience helped us to pinpoint exactly what we would need, which is a lot less than our other projects. The game actually only has 5 CGs, which is less than usual for us, but I think we managed to do it in a way where it doesn’t feel lacking, either. Getting scope right is a difficult thing and it’s easy to want to include anything and everything, but we were very particular about what we wanted and how long it would take.

Arimia: I can definitely see how that helped – working with people you’re already comfortable with can alleviate a lot of stress. For the A Date with Death: Beyond the Bet Kickstarter, how did you prepare the marketing campaign for it? How long did that pre-planning take you?

Gabby: We really started planning the new DLC the day A Date with Death launched last December. We knew we wanted to make more content, and with Dreambound nearly complete it was a good time to start thinking of running a new campaign. I would say the preplanning took a couple of months – working on a good date, working with lots of artists on new merch, setting up the page, getting the page to our graphic designer to make some images up for it… running a Kickstarter is definitely a lot of work! Even organizing the tiers takes some time.

We prepared mostly by getting the prelaunch page up as early as possible and getting the word out on all of our socials – Twitter, Tumblr, TikTok, Reels, Steam itself, Discord, our email list, itch…. basically, did a big blast out everywhere and we had a huge amount of people come and prelaunch straight away. We also really enjoy doing countdown images the week before launching – it lets us work with a bunch of amazing artists, and we use the art for rewards during the campaign too (as prints). Being our third campaign, we came into it knowing what we had to do, which is a big timesaver. For new developers, I’ll say don’t sleep on the prelaunch time – it’s not a good idea to put up a Kickstarter and instantly launch it. You need to bring an audience with you and get as many pledges lined up on that first day as possible.

Honestly, the support so far has blown our mind. With a similar amount of prep, Dreambound launched with less than 300 followers on the page, but as of writing this we’re already over 4500 on A Date with Death.

[I]t’s not a good idea to put up a Kickstarter and instantly launch it. You need to bring an audience with you and get as many pledges lined up on that first day as possible.

Arimia: Even though I’ve helped run and advised several Kickstarters before, there’s always something I forget or push off until the last minute. Was there anything you learned from the Dreambound KS that you used/did differently for the ADWD KS?

Gabby: Oh, for sure. I learned a lot about my tiers and page organization from our past Kickstarters. We actually have a lot more tiers than usual on this Kickstarter and I don’t think we’d be able to manage that without our past experiences.

If I had to pick one thing from the Dreambound Kickstarter that I’ve changed for A Date with Death’s, we decided to have all of our stretch goals viewable from the get-go. I enjoyed the “unlocking” of stretch goals we had before, but with the amount of attention I think we’ll get, it’s just easier to lay everything out for everyone.

Arimia: Yeah, I imagine you’ll probably be hitting stretch goals pretty early on with how many people are excited for the KS. Aside from social media like TikTok and Twitter, how do you keep your audience interested?

Gabby: I think one of the things that mobile games have as an advantage is continuously adding more content and patches. That really keeps people interested and coming back to your game and characters. Obviously we don’t really have a big enough team or enough time to be adding more and more content, so keeping people interested can be quite tough. We were very conscious of this when deciding WHEN to hold a Kickstarter in the first place – if we wait too long, people will move on. It’s already been 6 months since the game released, after all.

There’s multiple ways we’ve kept people interested during these months. One is that we funneled a lot of people to our Patreon, where we have exclusive art every month from the game, as well as behind the scenes stuff about the new DLC. We then can tease these on social media too, and drip feeding content works pretty well to keep people interested.

Another is we now have near 8000 members in our Discord, and these people become some of your core audience. We encourage interaction with each other and the game by weekly game questions that players can answer. If you had enough time to organize it, I honestly think even doing daily questions would be a really great idea. Anything to kind of keep people chatting and thinking about the game.

Arimia: To wrap this up – what advice would you give to other visual novel devs?

Gabby: There’s so much I’d like to say, but I’ll just give a few pieces of advice that I think could help newer developers. Don’t think of marketing as a bad thing, or an annoying thing. I see a lot of new developers come in and say “I won’t market. I feel like a shill and my game will speak for itself”. I think this is a huge mistake, because people won’t play your game if they don’t know it exists. Marketing can be fun! Share your little stories with the world proudly, don’t feel bad about that.

If you want to do game dev as just a hobby, then that’s absolutely fine – but it’s totally possible to do this as a profession, too. My partner and I have been working on visual novels full time for over two years now. A lot of people tend to think that’s there’s no money in visual novels, but I would say that’s not true at all. It’s hard work – like all small businesses are – and not every game is going to be wildly profitable, but it’s totally possible with a good game and good marketing. Keep making the games you love, doing market research to see what other people love, and you might be able to find a good crossover.

-------------------

And there you have it, some insight into the development and creation of A Date with Death! If you haven’t already, check the game out – the base game is completely free to play on Steam and itch.io. You can check out their social media here:

Twitter – TikTok – Tumblr

Support their Kickstarter!

[girlfriendsofthegalaxy]

tuesday again 9/17/2024

come take this very very friendly little man out of my bathroom! he is fiv+ and we are in houston tx! i am willing to drive a couple hours for the right home! he is a good boy he's just orange! more details here!

listening

emily jeffri's DENY off my spotify recommended weekly playlist: i can only describe it as "throbbing". immediately attention grabbing lyrics:

What kind of lover does your mother want? I'll do whatever, oh but you could not

very distinctly indie electronica. this would be the song in a cyberpunk/80s hacker movie where the chase takes you through an goth/alt fashion show where the models are actively giving blood as they walk or something.

i love the spotify daily mix for me and my bestie bc there's a guaranteed four bluey songs on it and it's a nice jumpscare. i know my mental health is taking a turn for the worse when a lot of mother mother starts popping up, i know my bestie's is taking a turn for the worse when a lot of girl in red starts popping up. suicide-watch-level sapphic angst singer-songwriter, generally. except for this song! extremely fun! didn't even recognize it as her! DOING IT AGAIN BABY is a more traditional selling-you-a-dodge-charger car commercial song and it's such a startling departure from her usual work that i wonder if it was a commercial commission? hard to immediately find out tho

I'm on a new level Something's got me feelin' like I could be inflammable And I might be I'm gonna light it up Nothing's gonna stop me if I say this is what I want

-

reading

i read twilight (yes that one) at the behest of my bestie and bc my mental health could not have gotten any worse in that moment. it has led to some uncomfortable realizations about my high school experience i will save for a therapist. i am mostly putting it here to remind myself that i read this book this year.

^ this is some silly goofy nonsense. not that i think people shouldn't be recognized at their retirement, but what happened to giving people nice watches instead of a thousand dollars in plaques

Saying that, the records did reveal something actually interesting: although the individual contract I sent a request related to was for a few thousand dollars, an attached blank purchase agreement (BPA) says that “the government estimates, but does not guarantee, that the volume of purchases through this BPA will be $360,000.00 over the term of the BPA.” So, a lot more than a few thousand bucks.

-

watching

Hang 'Em High (1968, dir. Post). certainly not clint's sluttiest role but really up there. i do wish he kept the fucked-out little rasp for the whole movie :(

When an innocent man barely survives a lynching, he returns as a lawman determined to bring the vigilantes to justice.

it has a typical bizarre shoehorned romance that (i think) deeply undercuts the theme it wants to explore, but there is no on-screen rape. the bar is on the FLOOR with westerns and yet i DNF so so so many.

hell of a whump film. literally everything happens to jed cooper. i will trumpet this again from the rooftops: that character needs cbt both ways.

-

playing

HIGHWATER, a 2022 adventure/turn based strategy thing from Rogue Games, courtesy of Netflix Games, whose game library is a fucking nightmare to navigate on mobile.

i loooove a water-based postapoc. the boat does in fact handle very poorly and like a horrible inflatable raft on mobile, which is both charming and frustrating.

i do not love a turn-based combat. despite the vibes off the charts, including a very well integrated "pirate radio" station as the game's soundtrack, i am not patient enough to muddle through complex turn-based combat. i'm sure someone had fun fighting off six guys and two bears (who aggro anyone and can one-hit anyone) and then a further three guys who show up for backup but i gave it the good old college try over two days and wasn't able to swing it. it would be nice to have either a difficulty setting or some way to spectate the ideal fight, but alas. a lot of fun environmental stuff in the fights you can use to your advantage, like the bears and these trees you can flatten your opponents with in a much earlier fight. there's a fun mix of different characters with different abilities and different weapons you pick up and keep during fights. i have no specific beef with this game's choice to make this the way you move through the game, it's just not my preferred genre.

a lot of book and newspaper collectibles in this one that i feel of several minds about. it feels less like environmental storytelling through newspapers and just the devs telling me their opinion when they provide little book summaries like this. also i wish The Industry as a whole was more thoughtful about using the word "insurgent".

not a game for me, i have once again confirmed that i cannot tolerate a turn-based combat no matter how much seafaring postapoc you drench it in :(

-

making

got a Phantom Menace era curtain panel for $4 at the thrift, and i was convinced it was fabric someone had made into a curtain panel until i got home and discovered it was an officially licensed product with bafflingly generous seams.

it's about two-ish yards of a 50/50 cotton/poly blend, which i feel like i haven't seen in a while? i think the current fashion leans more 70/30 or 100 poly for curtains i've purchased. after i finish unpicking the seams and pinking it, i am going to throw it in the wash again with some vinegar and see if that softens it up any, or if it makes the transition between the wear lines on the seams and the body of the fabric any nicer.

thinking about what kind of dress to make that 1) shows off this extremely large scale pattern 2) does not look like i am wearing a paper bag, and 3) does not look like the late aughts craft trend of sewing a twin flat Star Wars sheet to a tube top and calling that a dress, bc that's how hard up we were for feminine merch. much to consider. maybe it Will be a maxi skirt with pockets and i can wear one of my seventy black tees on top?

[starfieldcanvas]

You seem like the appropriate person to ask, so might as well. How do I read Scum Villain's Self Saving System? I'm an english only reader that's not very familiar with the danmei ecosystem.

It's been published in English! Big bookstores like Barnes & Noble are carrying Seven Seas danmei these days. My local indie carries them as well. And of course you can buy them on Bookshop or your preferred online retailer. There are four volumes in the English printing, which comprise the original chapters, a lot of illustrations, some translator notes on the basics of cultivation novels and Chinese forms of address, and the "extras", bonus chapters that are a fairly common addition to books that were originally published as pay-per-chapter webnovels.

My local library system has at least one copy of every volume. I do live in a large city (with a large Asian population to boot), but I don't know how relevant that is. The series was an NYT bestseller, so it's totally plausible that even a medium-size county system would have them too. And if you're very patient, you can always request the series be added to your local library catalog.

But the obvious easy answer is that the whole thing is (shh!) still online. 'Lily's BC translation' made it through the whole thing, and there are other slightly smoother fan translations that you can start off with before switching translations when you run out of chapters.

The issue with reading it online is that you're going to run into some odd mixes of preservation vs translation vs localization ('Shidi' sounds much nicer than 'Junior Apprentice-Brother', imo. but why is it always Regret of Chunshan and never Regret of Spring Mountain?) and some transplanted Mandarin dialogue formatting (often it's just [Charactername, "Dialogue"] with no dialogue tag at all) that will take a little getting used to. The translator notes are a lot more colorful, though!

Scum Villain is a fun trip to read knowing pretty much nothing going into it. It's a convergence (and parody) of four different genres: stallion novel, danmei, isekai/transmigration, and cultivation/xianxia. Stop here if you want to go in genre-blind!

Here are my random thoughts about what might be nice for new readers to know IF they don't feel like dropping themselves in the deep end and learning by osmosis:

Stallion novels:

This is the type of webnovel being parodied by Scum Villain's book-within-a-book Proud Immortal Demon Way. Kinda like a harem anime, but more focused on providing a satisfying male power fantasy. Though you can definitely get the gist of it just from the exposition in Scum Villain, there were a few misconceptions I walked away with at the end of the book. This rundown on AO3, Stallion Novels: A Guide, is a brief introduction to the genre and how it differs from or overlaps with other genres of Chinese webnovel.

Danmei:

The popular danmei that have made it the furthest into Western circulation don't necessarily give a representative sampling of common-denominator danmei tropes, precisely because the popular stuff is usually the memorable standouts rather than the generic pulp. So just keep in mind that the common gong (seme) archetype is the dangerous, demanding, quasi-rapist huge-dicked dom who magically makes dry pounding feel insanely pleasurable, and the shou (uke) archetype is the delicate virginal younger man who says no but means yes and cries prettily during sex. These traits WILL be thrown in a blender and parodied, lovingly.

Isekai/transmigration:

This is the trope where you die in real life and wake up in a fantasy world (typical isekai) or in an explicitly fictional setting you recognize from your real-world media consumption (fairly typical transmigration.) Especially in the Chinese webnovel side of the genre, there's often a lot of emphasis on 'leveling up', point farming, and getting 'achievements' like in a video game. Access to this game system typically gives the player advantages over the natural inhabitants of the new world. If there isn't a game system, the player usually still has some kind of magical specialness conferred by being from 'the real world', such as knowledge of how the plot will go. These things will, again, be parodied all to hell.

Cultivation/xianxia:

It's apparently pretty common for westerners ignorant of Daoism and new to xianxia ("immortal heroes") stories to assume cultivation stuff is unique to whatever cultivation-setting book they happened to pick up first. If you had never heard of vampires and then you watched Buffy the Vampire Slayer, you'd be forgiven for initially assuming that the show invented vampires, but you'd misunderstand its commentary on existing vampire lore, and it would probably be confusing how much vampire stuff it inexplicably expected you to already know. With that in mind, you can see why it might be helpful to have a vague awareness of what "cultivation" refers to in xianxia novels.

Here's my stab at it: "cultivation" means something like "increasing one's spiritual energy reserves and improving one's control over spiritual energy (qi) through meditation, study, and physical discipline, in order to develop a powerful core of spiritual energy that can heal wounds, enable powerful martial techniques, slow visible aging or stop aging entirely, and allow a person to forgo food and sleep indefinitely as they transcend the limitations of their physical body and become immortal, maybe even ascending to godhood."

Usually cultivators practice cultivation in cultivation sects - these sects are typically depicted as a cross between a temple, a boot camp, a university campus, and a small independent political entity

Everyone in the same sect ("martial family") refers to each other using sect-flavored family terms. Two people of the same generation are sect-siblings and will use sibling suffixes with the "shi-" prefix to indicate it's a sect relationship. Your sect mentor is your shizun/shifu ("honored teacher-mentor-master"/"teacher-mentor-master"). Someone in your mentor's generation is your sect-uncle or sect-aunt; they'll refer to you as their sect-niece or sect-nephew.

Similar to how Chinese family name suffixes differ by age order, sect-family suffixes differ depending on seniority (i.e. when your master took you as a disciple, relative to the other disciples.) But different novels play with these seniority rules differently and may assign suffixes by age alone or by some other ranking system.

Westerners occasionally get freaked out when people in the same sect generation fall in love because the characters are sect siblings. But there's no incest implied at all—it's nothing more than two people being in the same boarding school or church congregation.

If a cultivator is not in a sect, they're called a rogue cultivator ; this confers less stability and political prestige, but despite the name, rogue cultivators are not outlaws or apostates. It just means "independent."

Cultivators will often accept requests from civilians to deal with marauding monsters and mysterious ghost-related deaths. How much money they expect for their services is generally tied to how righteous they are.

Depending on their chosen cultivation path, they may be more martial or less martial. Cultivators of the sword path use spiritual swords that can (1) work like a regular sword but better, (2) project power at range in a glowing beam called a sword glare, or (3) be directed remotely in battle using hand seals (adopted into Daoism from Buddhism, known elsewhere as mudras) or wordless telepathy. Some cultivators of the sword path will nevertheless have non-sword spiritual weapons or favor other qi-powered martial techniques.

Cultivators make use of talismans (spells written in red cinnabar ink on strips of paper and then activated, often used like throwable magic stickers) and arrays (more powerful, longer-lasting spells painted or carved into locations or objects.)

Various stages of core formation may be referenced to indicate power levels. Reaching a new stage may involve some kind of tribulation, health risk, or grueling purification process (e.g. expelling all your body's impurities out through your pores as black goo.)

Spiritual energy is channelled through pathways in your body called spirit veins to key points called meridians. Different people may be said to have different types of spirit veins typed according to the five elements. A trained cultivator can examine someone's meridians to check their spiritual health or cultivation aptitude.

Strain on your psyche or your spiritual energy can lead to what's called a qi deviation, where the spiritual energy circulating through you gets fucked up and you have the spiritual equivalent of a stroke. Sufferers may bleed from all their face holes, lash out mindlessly at anyone who comes near them, hallucinate, straight-up die, or endure wacky shenanigans like temporarily reverting to childhood.

Cultivators may use external alchemy to create power-boosting pills in small alchemical cauldrons.

Dual cultivation is exchanging energy through sex in order to aid in spiritual regulation or to mutually increase power levels. It can be done in a one-sided way to steal spiritual energy, which is known as making a human cauldron. In the real religious practice on which the fantasy version is based, dual cultivation relies on the exchange of men's yang and women's yin, but somehow in danmei xianxia the m/m couples seem to manage it just fine...

Different Chinese novels and shows do different variations on cultivation (the same way Western shows do variations on vampires/angels/demons/etc) but they're all ultimately drawing on the same Daoist tradition of internal alchemy (also called The Way of the Golden Elixir) with bits of Buddhism and Chinese folk religion mixed in. (Chinese folk religion is usually where the monster/ghost/demon stuff comes from.)

Other stuff:

Scum Villain is peppered with a bunch of trope references that will be largely unfamiliar to most western readers, like "white lotus"/"black lotus", "blackened", "black belly", and so on. It also borrows a few Japanese archetype references here and there. "Cannon fodder" is fairly self-explanatory at least.

It's fun to look these up, but it's equally fun to just figure them out from context.

Hope this helps! Enjoy your reading!

[eri-pl]

Silm reread 5: Elves again (Thingol + other important ones)

So now it says Melian was most associated with Yavanna. Which one is it then?

Also the forest where they meet is Nan Elmoth, the same where later Eol lives. well, the place doesn't determine how well the relationship goes. remember this when picking a restaurant for a date. :D

Thingol was awesome before, but he gets the "extra tall + silver (glowing?) hair" description only after marrying Melian.

Geography… So Tuna is in Valinor but on the edge. I should probably remember this better.

Fëanor!!!

So, Fefe is better with words, more knowledgeable and more handy, but Finarfin is the prettiest! And the wisest. At least among the sons of Finwë.

Ambarussar are identical twins, same faces and temperaments. Also, they are even more associated with hunting than Celegorm, but he is a friend of Orome.

Unless it's Polish translation issue, Aredhel is canonically very pale-skinned. Not that I care about the canonicity here, but it's interesting because very few characters have clearly stated colors of anything. (Also I think dark-skinned fanart of her looks better because of the contrast). Oslo, canonically she is not romantically interested in any of the sons of Feanor (including Celegorm).

OK, so the Teleri reach Valinor proper… it makes sense that Alqualonde is on the continent, but I somehow managed to forget this. :|

Ingwë is the high king od all Elves. Hmmm. I don't think Feanor cares about this.

Darkness mentioned again!!! Fefe and sons wander to the edge of darkness (small d, but I'm not sure how consistent Jirt is), meaning the Western edge of the world, I think, because they are drawn to the Unknown. This is an important sentence!

Capital "U" Unknown — but not Darkness. And it is defined as outside, maybe Void, maybe the general direction of "out of Ea"? And I have thoughts. Oh, I do have thoughts.

Who was also drawn by the unknown empty far places in his youth? Yes, Melkor. (I wonder if he talked about it with some SoF in Valinor. Especially Maedhros. Yes, I love two part "polite maybe even friendly // torture" philosophical conversations it seems)

all of them share the "I wonder what's there" curiosity and go and wander in places (yes I cannot stop thinking about this siple proto-hobbit song)

at some point the neutral or even inviting "Unknown" becomes "Darkness" in their eyes. This is the (result of the?) fall.

(also, Men in the tale of Adanel or what her name was)

I feel like there's more to explore here, but not for now

Anyway, it is another place which may have impacted the notion of "darkness everlasting" in their minds.

Fefe's chapter.

The writing was invented in aman, and Rumil lived in Tirion (everyone important did I suppose).

Finwe and Miriel fell in love in Aman (not before) and were very happy and in love. After her death Finwe did mourn her a lot even in the published Silm.

Feanor is canonically tall!!! And pretty, light-eyed and raven-haired. He made a lot of glowy gems, silmarils were just the magnum opus.

OK, so Indis here isn't Ingwë's sister, just an unspecified close relative. from the order of those in the narrative, I suppose Feanor married Nerdanel before Finwë remarried. Before the remarriage and Melkor getting free, Feanor seems pretty stable mentally. but it is not clear, which of those two factors messed him up more.

Melkor is set free during the adolescence of Fingolfin and Finarfin, or at least before they are full adults, but after they're born.

Melkor is such a jerk. :/ I mean, sure he is but he's even more of a jerk instantly after his release than I remembered.

It's not like "the Valar set Melkor free to roam"! He was supervised and restricted to Valmar, but pretended to be good and behaved and the Noldor actually benefited from his advice (per the book!) so he was let to go whenever he wanted in all Aman. Because Manwë thoght that Melkor is fine now.

Tulkas is less nice than I remembered and does have anger issues indeed.

Melkor teaches the Noldor a lot of thigs they should not be taught. I wonder what were those.

Feanor never took advice from Melkor. …or from anyone else (except Nerdanel in their early marriage). so it's not as noble of him as it seems.

[olderthannetfic]

What's interesting about the complaints about "no POC" in anime is that the vast majority of characters are not white. They just have different colored hair and eyes for the sake of easily differentiating characters from one another. I guess what they mean is "We want more Black and (Afro-) Latine characters in anime," which is fine, but it does speak to a kind of ethnocentrism that prioritizes the USian understanding/value of race and ethnicity without considering what diversity would look like within the context of Japan. Similarly, I think of lot of people forget that animanga is aimed first and foremost at Japanese people. Foreigners typically only learn of titles because they're already successful enough in Japan to warrant translating and selling overseas. I don't see much value in Japanese creators tailoring their stories for Americans/Westerners because they already have a lot of competition in their fields with works being cancelled constantly. It's just not a good investment.

Whenever I do see diversity within animanga, it is interesting because there are usually characters who are Ainu, Ryukyuan, Portuguese, Brazilian (not necessarily Afro-Brazilians, though some are), Chinese, Korean, and other groups from East and South East Asia. Given the history of Japan, these are depictions that are interesting and answer/address some questions of the presence of these groups in Japan. I would argue that this is actual representation within the context of animanga. The Ainu (and other non-Yamato Japanese people) are oppressed in Japan. There are still Koreans (and their descendants) living in Japan from WWII who are oppressed, as well. There are close sociocultural and historical connections between Japan and Brazil and Japan and Portugal. It makes sense that diversity in Japan would look different from diversity in the US (not addressing how a lot of USian "diversity" is just telling the same White stories with ESG-insentivized checkboxes, so not true diversity at all). The landscape of animanga is just what you get when there's media coming from a country that's over 98% homogenous. I'm a Black and Hispanic animanga fan (same anon from 718760234172170240 and 719551319937007616), so I get how disappointing it feels. But just because you like something, doesn't mean it's made for you or that you're the target audience. It's made for Japanese people first and foremost. They just decided to make money from overseas markets, too. Also, why should a nation of people who typically never encounter Black people regularly feel the responsibility to represent us? It's corny and tone deaf when non-Black people beg to be included in Black-centered stories. The reverse is true, as well. Support more indie creators who make it a point to include "more POC" in their comics and graphic novels, and support creators telling different kinds of stories, not just checkboxes. The world is much broader than American ethnocentrism regarding race and ethnicity.

--

Yuuuuup.

[truthseekerthedragon]

Thoughts on SANABI

So. I want to talk about SANABI. 

For those of you wondering, SANABI is a Korean indie platformer released in November 2023. The platforming revolves around a grappling hook mechanic that you use to swing around levels. In a dystopian cyberpunk world, you play as the General(1), and you’ve been tasked with hunting down an elusive entity known only as Sanabi; it’s responsible for the disappearance of the entire population of Mago City, an independent city run by the conglomerate Mago Group. You, along with a hacker named Mari, slowly uncover the secrets around… pretty much everything, but Mago Group especially. 

While the mechanics, visuals, animation, and OST are great, what really grabs my attention is the game’s story. The storyline is absolutely fantastic, I love it to bits, and I need to talk about it or else I’ll explode. It’s unfortunate that the game isn’t well known; one of the reasons I’m talking about it is because I want more people to know about this gem, gosh darn it! (And it'll be a nice change of pace from my other long posts, which are mostly me being angry and insecure respectively.)

First, a quick rundown of non-spoilery things. All the juicy stuff is behind the cut. 

Many Western cyberpunk stories heavily feature elements from Japan or Hong Kong (such as Japanese corporations or the aesthetic of the former Kowloon Walled City), and some of these stories have been accused of being “techno-orientalist” by promoting fears of East Asian dominance in the West. Yikes. However, SANABI utilizes what can best be described as… KOREAN CYBERPUNK! The game combines elements of traditional Korean culture with cyberpunk, which in my eyes makes for a refreshing take on the genre. The enormous neon signs are Korean, the characters wear traditional Korean clothing, and the architecture incorporates Korean elements. It’s all super great to look at. (And as someone who’s partially Korean, it brings me personal joy.)

The characterization and interactions in the game are excellent; sometimes the dialogue is strange or clunky, but I’m chalking it up to translation and localization issues and I’m not blaming the team for that. This game is heavy on cutscenes, but I didn't mind because the story is so well written; in fact, they’re almost a relief because gameplay requires a lot of concentration and cutscenes provide an opportunity to unwind. 

I’ll mostly be talking about the storyline, since that’s basically my specialty as a writer and all, but I may dip into talking about other aspects of the game, such as the visuals or music; I will also be looking at the cultural and economic context behind the game, which (if you ask me) explains a lot about Korean media in general. 

Content warnings for terrorism as well as in-depth discussions of death and grief. I will post screenshots of the game, a few of which are quite bloody (rendered in pixel art). 

One last thing. SANABI is one of those games where it’s best to go into it knowing as little about it as possible due to the nature of the story. If you have not seen or played SANABI, I highly recommend playing the game or watching a playthrough before reading this post. (If you’re looking for playthroughs, I recommend Dan Floyd/PlayFrame’s Let’s Play, which can be found here. It was actually a one-off before Dan decided to expand it to a full playthrough, and it’ll probably be complete before this post goes up, because I am very predictable.) (Edit: Yup.) I do not wish to rob anyone of that first-time experience. If you want to read this post before checking out the game, I can’t stop you, though I strongly dissuade you from doing so. 

Laaast warning! 

When you boot up the game, you’re greeted with the main menu (because of course that’s where I’d start, not by immediately jumping into the game proper or anything). The menu song, “SANABI,” utilizes a distinctive melody that we’ll hear throughout the game—a leitmotif, if you will. I will make sure to point out this little motif whenever it appears given how thematically important it is. By the way, this game’s soundtrack is excellent, so expect me to ramble about it every so often. 

Anyways, let’s start the game, shall we? The game offers four difficulty modes, the hardest of which you unlock after beating the game. The easiest difficulty makes you invincible and is for the casuals who are just here for the story, and that’s perfectly fine. Of course, my sibling saw this and immediately said, “Who would play the game with invincibility?” (They’re a Celeste speedrunner, you see. They’re 100% a hardcore gamer.)

Okay, let’s start the game for real. 

The game starts with a girl telling her father, among other things, that “Getting all the way to the end is not important!” This phrase is a motif throughout this game (aka Arc Words), so remember it. 

The General wakes with a start, so apparently what we just saw was a dream/vision. When he checks on his daughter, she runs over and hugs him and it's the most adorable thing ever. 

The animation and designs do a lot to convey character in this game. The General's outfit is black and red and the brim of his hat always cover his eyes, which gives him that mysterious badass look. (By the way, that hat is called a jeonrip and was historically worn by Korean military officers, so this outfit should immediately tell its Korean audience, as well as anyone who watches enough historical K-dramas, what this guy’s job is.) He walks, and runs, using a steady, professional gait. His daughter, in contrast, is dressed in a bright yellow and red hanbok. She bounces up and down, practically radiating energy, and she has sparkles coming off her. It's all very cute. 

Strangely, the game offers dialogue choices in this prologue. We don't see this anywhere else in the game except for one scene far later, which I’ll get to when we get there. This is probably a relic of an earlier iteration of the game that had dialogue choices, but I'm glad they scrapped it. It suits this game better. 

The daughter wants to play with a box of “fun objects,” so she and dad head into their small, remote shack.(3) The interior is based off that of traditional Korean homes, or hanoks; feel free to compare to this image. The furniture has a distinctly Korean feel, down to the blankets stacked against the wall and the black lacquer closet decorated with designs of birds and mountains. I also spot lots of vases and what looks like calligraphy on the wall, as well as several medals and certificates. 

The daughter rifles through the fun objects, aka her father’s military stuff, and says she wants to play soldiers with him. “Can I be the general? Can I?? I want to be the general!!” she cries, jumping up and down like she doesn’t have a care in the world. Her father immediately obliges, even letting her borrow his general’s Steel Tiger medal. 

Our General has been tasked with rescuing Agent Raspberry from “the hill in the back,” which is filled with dinosaurs and lava; he’s the only one who can do it because he’s an “inbincible elite soldier.” Of course, there's no actual lava, and the General even points this out, but he’s a good dad, so he sets up a red visual overlay over the grassless areas. Might as well be the real thing. 

This starts a fun tutorial that teaches basic gameplay, including how to use the Chain Arm, the grappling hook mechanic. I’ll skip over this part for the sake of time, but it's very cute. (You can pet a cat named Agent Meow, and if you don’t touch the “lava” while he’s watching, he applauds you—wait I said I’d skip over this part shoot—)

The General successfully “rescues” the raspberries and brings them back to his daughter. She’s asleep, but she’s drawn something for her dad. 

To her we are the “invincible soldier.” Which is pretty sweet! 

Our kid wakes up later and pulls out a walkie-talkie, which she had gotten earlier from the box of fun objects/military gizmos, but she's only brought one, whoops! So she gives the walkie-talkie to her dad and heads to the house to grab a second one. 

The radio crackles to life, and the daughter says there’s a large clock in the house. That’s a bit strange. There's something written on it, and she reads it aloud. 

“Sa… nabi. What's a Sanabi?”

The game starts off slowly, which is probably a large turn-off for people who want to cut straight to gameplay. This intro follows in the vein of Korean revenge films, where there’s often an introductory scene showing the protagonist going about their usual life with loving family members that the plot will take away from them, starting their revenge spree. I’ll discuss Korean revenge thrillers later on.

The General abruptly stands up, radio in hand. 

“Love, listen to daddy. Get out of the house right now. RIGHT NOW.” 

But she can’t hear him over the radio. He runs towards the house, only to be thrown back by an explosion—cut to black.

When consciousness returns, the world has faded to gray, and the only thing that can be heard is a distant ringing. The General slowly gets up, and a QTE prompts you to get him to slowly move towards the house. (More on QTEs later.) Turns out the house is completely destroyed, and the General falls to his knees. 

Aaand smash cut to title! Welcome to the game. 

I love the abrupt tone shift here. I'm willing to bet a lot of you were jaded enough to expect something to happen to the daughter eventually, but still! Darn. This shift reflects the General's outlook on the whole ordeal—he had a great life, with a great daughter, until all that was snatched away from him. Yikes. 

17 days later, we’re in an extravagant office in a highrise building; most of the screen is dark, obscuring our view, and we can only see two robots standing next to a window. (This game plays with perspective in this way a lot, as you’ll see.) One of the robots, a bodyguard named Cheol(4), approaches someone we can’t see with the intent to kill him—only for a metal claw to attack from the darkness and completely wreck the guy. We all know who it is. 

The other robot, who appears to be the boss of some kind of weapons company, panics and says they have information on Sanabi, but as it turns out, the General has already tracked those leads and found nothing. When the boss makes the mistake of asking what he wants, he grabs the boss and suspends them over a broken window; the boss offers all their money as compensation for whatever the General lost, and he responds by dropping them out a window. 

When you take him to the door leading out of the office, he opens it, revealing a corridor lit by a flickering emergency light. The walls and pillars are covered in enormous rake marks, the paintings are askew, and the body parts of robots litter the ground. There’s a red haze in the air. 

I love the environmental storytelling here. It’s efficient, for lack of a better word—with one glance you can infer what happened here. It’s a powerful mood-setter, too. 

Now this right here is in line with Korea’s revenge thriller films, one of the country’s main exports besides rom-coms about shy teens and K-pop. This genre is native to our favorite peninsula, featuring brutal levels of violence, villains who are usually rich people, and an inept police force. Emotional catharsis not guaranteed! 

I did a lot of reading to trace the roots of this trend, and over and over I came across the term han, a Korean concept that’s difficult to translate to English but can be described as a sort of grief or unresolved anger at societal injustices. The feeling can be traced back to Japan’s colonization of Korea and has been refined, if you will, by the Korean people being divided by the 38th parallel and the South subsequently being ruled by a string of dictators. So basically, the Korean fixation on revenge films comes from an innate anger at the unfairness of the world and the desire to lash out. Fun! 

If you want more information about the historical context behind Korean revenge films, click here. And for more information about Korea’s long, often troubled history, click here or go to footnote #8 for the extra-long version. 

Now I know what some of you are thinking. “Truthseeker/Thunder, you spent several months writing an essay about a boring game with a fridging that’s setting up a clichéd revenge plot? I’m so disappointed in you.” And to that I say, “Listen, this is one of the best games I’ve ever seen or played and I do not say that lightly. Just trust me on this, alright?” And those of you who are reading this and know what’s up are nodding knowingly or something. I dunno.

Anyways, back to the game. The General takes the elevator, telling the operator to take him to the first floor; the understandably terrified operator obliges. As the elevator slides down, it passes by rows and rows of similarly devastated hallways. To put it in Dan Floyd’s words, “We’ve been busy.”(5)

There’s a servant on the first floor who aims a gun at the General, but loses his nerve and runs for it. When you enter the lobby, the servant appears again. A thin laser appears that goes through both your bodies, and the servant is confused, but not for long. The laser fires, vaporizing half the poor guy’s body. You survive, though, presumably because the servant took the brunt of the blast. 

An extravagantly dressed guy saunters into the lobby. This is Kang Seon(6)(7), and he has a gun for a head. This game utilizes rule of cool a lot, but never in a way that breaks immersion, at least for me. It’s one of the things I love about it. 

Kang Seon kicks the servant-bot’s corpse and complains about, if I were to guess, him not opening the entrance. The characterization in this game is excellent, by the way, even for minor characters like this. 

When the General attacks him, Kang Seon is impressed, excited to fight “someone who’s got chops.” It’s time to put your skills to the test. 

My sibling (who’s played a bit of the game as of my writing this) felt the need to say that the timing of Kang Seon’s laser attacks was “extremely generous,” by the way. Don’t have much to add to that; this guy is the first boss you encounter in the game. 

Once you defeat Kang Seon, he threatens to blow you up along with him, but a cannon blast from outside kills him. Leaving the lobby reveals a military helicopter parked outside. An officer is waiting for you—Colonel Baek. 

At first the General isn’t interested in what he has to say, but Baek tells him, “Sanabi reappeared.” This intrigues our murderous, rage-filled, inbincible elite soldier and he gets into the helicopter. The boss slowly gets up from the pavement and tells Baek to shoot his comrade, but Baek shoots them instead. 

Before I forget, I should probably mention the architectural style of the game—the classic cyberpunk look we all know and love mixed with traditional Korean architectural elements such as tiled roofs, dancheong, and a distinctive bracket structure. Those brackets painted with colorful patterns can be seen within the military HQ. 

The General gets a mission briefing. Apparently Sanabi has resurfaced in Mago City, a city owned by a company known as Mago Group. The base wants to assign him a specific mission because he’s apparently the only one who’s ever met Sanabi in person.

Mago Group is a megacorporation reminiscent of chaebols, a Korean term used to describe enormous companies run by a person or family (Samsung Group is the largest of these). In South Korea, chaebols dominate politics and the economy and have enormous influence over the country. They’re essentially monopolies with close ties to the government and are comparable to Japan’s keiretsu.(8) 

If you’re familiar with Korean media in pretty much any capacity, you’re probably aware that rich people, companies, or both often appear in an antagonistic capacity in such media. SANABI is no exception. Mago Group has some connection to Sanabi, but it’s not clear what exactly that connection is. At least not yet. 

Another nifty fact: Mago Group is named after Mago, a creator goddess from Korean folklore. Is this a thematically appropriate name? We’ll see. Heck, I’d even argue that Mago Group’s logo—a triangle overlapping with a circle, resembling a mountain silhouetted against the sun—is also thematically relevant. Everyone jump on the overthinking train! Our destination is, um, I dunno. I hadn’t thought this far ahead. Aaaugh. I’m gonna curl up in the corner now. 

The General agrees to start the mission, but only if he orders something called Operation Zero, which seems to be a big deal. He also plugs in a chip, which causes something called “S.O.S” to appear on the HUD. 

Our General also wants to do some limb maintenance, and Baek directs him to the supply area. There we meet Major Song. Compared to the soldiers who stiffly salute the General, Song is a lot more laid back, slouching off the ledge she’s on to give a casual-looking salute. She’s much more relaxed but still respectful around our inbincible soldier than the other guys. This is because, as we will soon see, Song is utterly fearless and someone who is not to be messed with. 

Song says the parts for the chain arm can’t be found on the base, since it’s pretty out of date, and she recommends her superior check the black market for parts. We also head into Training Ground #17, where we have our tutorial the second. 

This tutorial is more comprehensive than the first one where we were dodging the “lava,” introducing how to fight enemies, dash after taking damage, etc. Unfortunately it’s also more boring because there’s no fake lava we have to avoid for our daughter. This seems to be some kind of design limitation that comes from having to introduce the player to concepts like fighting enemies that realistically won’t come up when roleplaying with our daughter, but it’s still not ideal. 

We also have a training test at the end of the tutorial to evaluate how fast the player can navigate the course. If you beat it in under 26 seconds (the General’s old record), which is quite tricky, you get an achievement! The fastest I’ve seen it completed utilizes speedrunner methods. 

After that, we return to Major Song, who’s heard about the whole Operation Zero thing and is skeptical. We don’t hear what exactly Operation Zero is, only that it’s presumably something that’ll deal with Sanabi. For that matter, we don’t know what Sanabi is either, only that it blew up our kid. Whatever Operation Zero is, it’s clear the General isn’t planning on coming back alive. 

Song tells the General to leave behind what he wants to leave, and he pulls out a piece of paper. We saw him with the same paper earlier when he was issuing Operation Zero. Song picks it up and reads aloud, “Invincible.. the elite soldier…”

The General heads to his quarters and pulls out his Steel Tiger medal, which looks a bit scuffed. We flashback to a time when the Steel Tiger was pristine, where the General is explaining to his daughter that it’s a medal given to generals. The daughter hugs him and calls him the coolest in the world. We return to him in the base where he’s crying stoically, which is incredibly sad(9). Don’t pull on my heartstrings like that :(

Next up is the briefing. We’re now in a helicopter in Mago City airspace, and a hologram of Colonel Baek tells us something highly confidential: after a network blackout in the city, every citizen in the city vanished into thin air. It’s almost certainly Sanabi’s doing. We’re given the task of retrieving Mari, a member of an investigation team who’s sent a distress signal and reported she found information. 

An artillery blast hits the helicopter, and the General prepares to jump out of it, but it crashes. We see the same scene from the very beginning of the game, complete with our daughter telling us again that getting to the end isn’t important. However, the memory—if it can be called that—seems a little off. The HUD seems a bit different, for one. And at one point our daughter, instead of giving normal dialogue, starts talking in censored boxes. That’s not how language works, kid! 

Oh, and our S.O.S doesn’t work. Yippee. 

We are a short distance outside Mago City’s gates. This is where the prologue ends and the game proper starts. It was a long journey, but we’re finally here, people! There are five more chapters to go. I have to analyze all of it. Lemme just add weirdly titled headers for my personal convenience. 

Chapter 1: Program

And off we go! 

Well, you probably know how platformers work. I don’t think I need to explain how you, as the Brigadier General, have to swing around and avoid stuff that will kill you such as the volt potholes (the red bits of floor). I do want to say, though, it is satisfying as heck (evidence: every time I cheer loudly after defeating a tricky boss or navigating a difficult area). 

Once you reach the first gate, you encounter a speaker that says it’s best to evacuate the city. Huh. What is with this place, anyway? What happened to everyone? These are questions we will slowly unravel throughout the game. 

Inside the first gate, we encounter turrets and robots. Mago City is suspiciously well armed, as we will soon find out. Yes, megacorporations having private armies are a genre staple, but seriously, why is there so much security? Yet another question to throw onto the pile. 

Right after the General enters Mago City proper, we see a floating orange drone tailing him. This little guy’s name, we later learn, is Mufin. Not Muffin, Mufin with one F. I decided to investigate the original Korean, and its name is “머핀” (pronounced “meopin”), lit. “muffin.” So if this guy’s name is Muffin, why is its English name spelled with just one F? Who knows, it’s probably a small mistake. Trust me to get hooked up on a tiny detail like this. Moving on! 

We can see Mufin make appearances here and there as we platform. Weirdly, I never catch these appearances while watching a playthrough, but while playing the game itself I was constantly like, “I see you there!” Does playing a video game make you hyper-aware of your surroundings or something? Probably. Definitely. 

After a while the General decides to hide in an alley as Mufin passes by, then grabs it. Turns out Mufin is Mari’s drone, and it gives the General her coordinates. Off we go, then. 

Some platforming/robot-destroying later, we find Mari hiding under a sack. 

Quick note on Mari’s design: her clothes are blue and yellow. The daughter wore red and yellow clothing. Read into the color symbolism as much, or as little, as you’d like. For my part, I couldn’t tell you how much “Mari wears blue, which represents hope and the future in Korean culture” was an intentional design choice on the devs’ part; for all I know, they made her clothes blue because they liked the color. How much am I overthinking things? You be the judge! 

Mari is terrified. At first she asks who’s there (the Brigadier General), then asks if we’re human (yes). The General tells her he was sent to protect her, but Mari has serious doubts on the capability of one person. After all, what can one person possibly do?

The General informs her that he’s killed all the murder bots(10), but this makes Mari freak out even more. Turns out there’s something beneath the floor of the city. Something very large and very hungry. 

It’s a giant metal worm. 

It erupts out of the ground, leaving behind a volt pothole where it chewed through the floor. Mari immediately hops onto Mufin, flies off, then returns to the General and shouts, “Why are you just standing there?!! Run!!” You should heed her advice, because the worm is now chasing after you. 

After a narrow escape from the metal worm of death, our characters get a chance to relax. As it turns out, the network blackout we heard about earlier actually meant the city’s data has been wiped. Mari doesn’t actually know anything; she only said she had information because no one would’ve come otherwise. 

I’ll add something real quick here. Throughout the game, Mari refers to the General as “mister.” A bit odd and overly formal for an English speaker, but we’ll have to turn to the game’s native language for the full picture. In the original Korean, Mari uses the term “아저씨,” romanized as ajeossi, to address the General. This term is used to politely address a man older than the speaker. If you’re wondering why I’m bringing this up, besides for a fun piece of trivia, it’s because I’m gonna bring it up later along with a longer explanation. You’ll see why when it comes up again. 

So what’s the plan now that we have zero information to go off of? Luckily, Mari has a plan that involves… fishing? 

We’re then shown a presentation of sorts that feature Mari drawing out pictures as she explains the plan. These are absolutely fantastic, not just because of the music that plays during these scenes (appropriately called “Mari’s Theme,” which also includes the SANABI leitmotif) but also because stopping to make drawings while explaining the plan is such a Mari thing to do. 

Right, the characterization! Still love it. Mari is very talkative and energetic, especially in contrast to the quiet, no-nonsense General. In writer speak, placing contrasting characters next to each other like this is known as foiling. It’s a good technique is what I’m saying. I love my foils. 

Anyways, Mari’s plan is to pull the Writ of Execution (the crusher’s official name) out of the ground using a crane hook, although the power source has to be disabled first. Unfortuntately, the worm’s power source is located in its mouth. When the General hears this, he immediately turns around and leaves, which I find hilarious. 

Luckily, Mari has a plan for that also. How does she come up with these so quickly? Her plan is to hack(11) Mago City’s internal network and overload the crusher when it connects to the network for maintenance. 

Fun fact, each time after Mari draws out a plan you can actually see the drawings on a nearby wall where she drew them. I love small details like that, and the game is full of them. 

There’s a network hub nearby, so we have to get there to hack the worm. Oh, and Mari’s gonna follow you around by riding Mufin, which is very cute. 

Our grand cast of two characters (I am not counting Mufin, sorry folks) reach the station. Mari tries to engage in small talk, asking the General what he does and why he has a claw arm, but he isn’t gonna say anything. Mari then tells him that she did unsavory hacking work, got caught, and is now working for the government. Interestingly, when the General tells her to live a normal life after all this is over, Mari responds with, “Well.. that’s not really something I can control. But, well… Okay. I could give it a shot…” 

In response, the General gives her a card and tells her to look for Colonel Baek once they get out of the city. He says Baek will be able to give her a fresh start. Interesting move, considering the two haven’t known each other for long. 

It turns out there’s some interference preventing Mari from hacking the crusher; we have to shut down three transponders. Mari offers to split the work, but the General immediately says no; he’s gonna shut off the transponders by himself. Mari is annoyed, pointing out she’s not five, and when the General is insistent she says she can handle herself, adding, “It’s not like I’m your daughter or anything!”

Ohh. I see. Let’s see where this goes, shall we? 

While we’re off to shut down the transponders, Mari talks to the General via comm. She sends him the transponders’ coordinates and snarkily tells him he’s welcome, and he tells her to cut the chatter. You see what I mean with the characterization? I can’t stop talking about it. Help. 

Interestingly enough, there are a couple lines here where Mari mentions that the slums lack any sort of housing. This seems to be a reference to an earlier version of the game where the plot was a bit different. A lot of things about SANABI changed during development; for instance, the game was originally supposed to be a metroidvania—you could choose different chain arm upgrades through the black market and explore a non-linear map—but the devs had to scale back their ambitions because they realized a metroidvania was well beyond their scope. (Here are the sources in Korean if you want a look.)

After destroying the second transponder, Mari realizes we’re smashing them instead of, you know, just turning them off. (I mean, when all you have is a hammer, or in this case a giant robot claw…) And the General’s like, “You talk too much. Tone it down. I can’t focus.”

Shortly after this, when a large steel door shuts in front of us, Mari takes the opportunity to say, “You’re like, dry AF you know that?” and starts complaining about how he never lets her do anything, and he responds to this by blocking her on the comm. I love this game. 

After we destroy all three transponders, we return to the station, but Mari is missing. Turns out she left to investigate something, but the General didn’t hear because… you know. 

Mari takes him to a ledge overlooking the crusher’s maintenance center, because it looks less like a maintenance center and more like an enormous hole in the ground where garbage is disposed of (aka dumped). Oh, and apparently this spot is the cargo drones’ default dump point, too, so pretty much everything was being dumped here. The General wonders if this is part of the terrorist plans, and Mari responds with, “Terrorism..? What terrorism?.. Oh, never mind. This was found from within Mago Corporation.” Mari points out how strange this is, but the General doesn’t care. He’s more preoccupied with the, you know, three million missing citizens and Sanabi. 

A light appears in the distance, which turns out to be a missile, and the General pushes Mari out of harm’s way before he gets exploded off the ledge. Ouch. 

Don’t worry, he’s still alive, just falling into the giant pit that’s also the Writ of Execution’s maintenance center. Mari manages to grab him mid-fall, but Mufin’s not strong enough to pull them back up, so the General tells her to follow through with the fishing plan; he’ll figure out a way to weaken the crusher. He also tells her to stay discrete, since whoever fired the missile is targeting them. 

We land in the bottom of the pit with nothing but a giant murderous worm for company. Yup, it’s boss fight time. Luckily for you, you can defeat the crusher by attacking the power source in its mouth that it sticks out when it tries to eat you. The game doesn’t really explain why the worm exposes its weak point like this other than for gameplay purposes, unfortunately. (My headcanon is that it does this to prevent the power source from overheating, heh.)

Mari helps out by sending down explosives (or, as she calls it, a “wombo combo happy meal”), and once it’s weakened enough she sends down the crane hook. When the crusher refuses to be pulled out, Mari tells the General to grab the hook so she can pull him out. And he does so, but with the plan to whack the worm real hard using a few QTEs. People often complain about bad QTEs, but I really like how they’re implemented in SANABI—they appear during dramatic moments when the character is expected to exert a lot of effort, such as during boss fights like this one. The animation during the boss fight QTEs helps a lot, too. 

The Writ of Execution has been defeated, and its upper body is hoisted out of the ground using the crane. Mari opens it up and doesn’t find a black box, but something better: a Golden Key, which is basically the city’s equivalent of admin privileges. She calls up a lift and we get in. 

If you’re wondering what’s next, it’s a flashback with our daughter. Dad is posed heroically while wearing a paper hat, and it looks like his daughter is drawing him. Aww. She even says she’s drawing the happiest moment of her life, because every day she’s with her dad is the happiest she has—then we get an abrupt cut to Mari shouting in the General’s face. Looks like he was lost in thought for a second there. It’s a jarring moment and I love it.

The two are in a giant underground chamber close to the Mago Construction exec’s office. This chamber also houses a lot of crushers. What, you thought there was just one? Nope! Seriously, what are all these worms even for? 

As our characters ride the elevator up to the exec’s office, they have a little chat. The General wants to know why Mari’s accompanying him on this dangerous mission, especially when she already has her out. She says it’s because she’s worried about him, but the General can tell she’s not telling the truth. Mari also adds that she thinks he’s obsessing over something. 

Oh hey look, the office has a giant portrait of Mago Construction’s CEO. 

“Na E-lon,” huh? You know, this guy looks kinda similar to—oh my glod.(12)

Within the office proper, we find a magnificent view of Mago City and an interface. Mari accesses the interface using the Golden Key and opens a classified channel, but there’s no information there either. The VIP hotline is partially corrupted, but Mari manages to catch the word “Sanabi.” 

The General grabs her in response and warns her about how dangerous Sanabi is, but Mari doesn’t seem to get what the deal is. Then the interface announces the activation of something called the penultimate solution protocol: “As per the manual, all VIPs are required to delete all of their personal data.. and then terminate their own lives. Have a great day.”

Mari checks the log. Apparently the protocol is activated when the city’s security can no longer be maintained; all data is to be deleted and the city’s nuclear fission plant is to commence meltdown. We are now on a time schedule, even though the uranium fuel in reactors can’t explode like a nuclear bomb can. 

As the two are leaving the office, Mari insists on continuing the mission with the General, even throwing away the calling card that will wipe her slate clean. She tells him, “I just have a feeling. This will be my last chance. Give me this chance, please.” And when the General inevitably says no, Mari starts addressing Sanabi directly (and loudly), saying she knows they’re hiding on the topmost floor of the city. He grabs her again, but as Mari puts it, “You know, I actually managed to read everything back there. Now I’m also a dead man, or gal, aren’t I?”

Chapter 2: Manufacture

We enter the city’s evacuation tunnels. Since Sanabi is somewhere in the top floors of the city, we’re gonna find a vertical train and ride it all the way to the upper levels. Since Mari still wants to stick around with the General, he decides to give her one chance to prove herself. He also has one condition: Mari has to follow his instructions, even though she points out a little freedom might produce better results.(13)

This chapter also introduces large red zones that cover areas of the map. When we encounter one in our way, Mari insists that they’re harmless and even demonstrates by sticking her hand in, but when the General tries to run into them, this activates an interception system (read: giant laser). Apparently interception’s triggered by a high electrical output, but to quote Mari, “You would need to have a really high output to trigger it.. Like reeealy high..”

Apparently our giant mechanical arm prevents us from traveling through what I can only assume are anti-robot defenses, but luckily we can mask our electrical signal if we travel through these red zones using supply convoys, basically giant hooks on rails. Yippee for platforming! Now where was I? Right, the plot. 

After spending some time traveling through the evacuation tunnels, we find ourselves in Mago Business District. If you were wondering which part of the game exudes the strongest Blade Runner feel, it’s here. Towering skyscrapers, enormous neon signs, everything—although there are still plenty of Korean architectural influences, such as in the designs of the archways. 

There’s a black market nearby, and the General heads there to get new parts while Mari gushes over limited-edition merchandise.(14) The General notices an advertisement for memory manipulation and is thrown into another flashback, where we’re introduced to the hookshot mechanic. Oh, and our daughter gives us a birthday cake. 

When the flashback ends Mari is quoting lines from a fictional anime at us while wielding a “Neo-Data Blade,” a piece of merchandise that’s also a real hacking tool. This game is amazing. 

Oh, remember the memory manipulation that was mentioned moments ago? Turns out that’s a thing! Mari even says she messed around with it when she was younger, but adds it’s obvious whenever a memory is false. Feel free to pull out the tinfoil hats, because introducing the idea of false memories immediately shakes things up. Have fun theorizing! The people watching PlayFrame’s playthrough certainly did.(15) 

While platforming through the business district, we encounter Mago City’s worker bots, which have all been destroyed for some reason. Turns out these robots are being destroyed by the city’s security robots, who seem intent on making sure these workers are completely destroyed. Is there a reason for this extreme prejudice? Who knows. 

During our adventures through capitalism land(16), we eventually encounter a mech suit piloted by a girl. This is Justice, a famous elusive, wandering hero of the people. Mari immediately rushes in to snap a selfie with Justice, but the General is more suspicious. 

Unlike the other characters, Justice’s design evokes Japanese aesthetics. She has a hime cut (which you can see better in this image(17)), and she’s meant to invoke the image of the lone wandering samurai/the modern conception of ronin. The thing is, due to historical reasons that are beyond the scope of this essay and continue to influence culture and society up to this very day, Japan is viewed extremely negatively by Koreans. It’s more of a hatred for the country than any individual or cultural export like anime, uber-nationalistic Koreans aside. I have to wonder if Justice’s design is meant to deliberately invoke a level of distrust in the player as a clue-in that Justice may not necessarily be a good person. (You know how Cold War-era media often feature Russians or Germans in an antagonistic capacity? It’s similar to that. The Korean horror film The Wailing, for instance, features supernatural events that seem to revolve around a mysterious Japanese man.) Again, this is beyond the scope of this essay, so I won’t talk about it much. 

Well, either that or I’m overthinking all this and the devs designed Justice this way because it was cool and/or to tie the design into Mari’s love of anime.

Back to discussion of the fun video game! Justice tells us, “I’m watching,” then vanishes into thin air. Mari explains that Justice is a famous wandering hero, but the General already knows who she is. The problem is, why is Justice in a city where everyone vanished into thin air? He also adds that Justice has a class-3 camouflage unit, which is the kind used by the military; a civilian shouldn’t have that kind of thing. 

We come across another giant portrait, this time the one of Mago Products’ CEO, Choi Gyeon. She’s not a famous person reference, unfortunately. There are also some security force-owned mech suits present, and it looks like Mufin wants one, but it ain’t getting it. At least for now. 

Remember how we were looking for a vertical train? Well, we’ve reached the subway and we’ve found them. They’re not moving, and Mari heads out to reactivate them, but the shutter doors close and security bots with rocket grenades and shields appear. It was a trap all along! 

After defeating the robots along with a rocket grenade that we hack using the Neo-Data Blade from earlier, a police mech grabs the General. It looks like the end, but Mufin in the mech suit from earlier busts through the door, followed by Mari. Mecha-Mufin powers up a laser beam, but the police mech whacks it with a baton before it can finish. The rainbow shades fall off Mari’s wide-eyed face before she shouts, “Hey!!! You’re not supposed to attack during a powerup sequence!!!” (I love this game—) The General then destroys the mech, says he’s fine, and immediately falls over. 

We’re back in the formless void with our daughter (what is going on here? Is this a subconscious flashback or something?) while a haunting melody plays. Mari’s playing the harmonica. 

According to Mari, the trains aren’t functional, and the General says they were never designed to be used.(18) 

A beat passes. The General says, “Mari. You almost died back there.” Cue the emotional music (the leitmotif appears here too!), because it is deep discussion time. You even get an achievement after this scene! 

The General asks why Mari’s doing all this despite the risk. It’s clear he wants her to be honest this time. In response, she pulls out the harmonica she was playing earlier. “Can you play it for me?” she asks. She’s being serious—what’s the deal with the harmonica, anyway?—but the General doesn’t know how to play it. 

He also tells Mari he’s not planning to leave the city alive. Sanabi took everything from him, and he has no reason to live besides getting revenge. After a pause, Mari says, “Me too.” She reveals her father was killed by Mago Group and she’s here to find out why, adding that she’s already decided on this and doesn’t want to hear any “you’re too young to die” comments. 

A pause. Then she says, “Hey now! Sheesh! What a downer! I wasn’t gonna say anything because I knew it’d end up like this.” Holy mother of mood whiplash. Hey, does anyone else think Mari’s only pretending to be silly and that we just got a glimpse of what she’s really like back there? 

After getting that off our chests, it’s time for another of Mari’s plans! Our goal is still to reach the top levels, so her plan is to grab a flying car from a nearby warehouse and fly it to the top. What a flawless plan! Mari can’t drive, but that isn’t important. She has plenty of experience playing racing games, after all. 

Our merry duo reach the warehouse, but all the cars have been destroyed. Turns out this is Justice’s work, and the General tells Mari to leave the warehouse. “I’m watching,” Justice says, and it’s time for another boss fight! Great jams, too. 

During the fight, it turns out that there are multiple copies of Justice that decloak and attack you; apparently Justice can duplicate herself at will. When you destroy them, their mech suit bodies pile up on the floor, which is a very nice detail. Really solidifies how many you’re fighting. 

At the end of the fight, the General asks Justice why she’s working so hard. In response, she says, “Watching.. And watching.. And watching.. And watching…” Something’s clearly wrong. Do I even need to explain that something’s wrong? Am I being an annoying rambler right now? Moving on! 

“I hope you won’t hate me for this,” the General says, and with the help of a couple QTEs from the player he whacks the mech hard enough to send it crashing through the warehouse door. 

Once we leave the warehouse, Mari is very concerned about the Justice mech we just hit. She asks the General if he killed Justice, and he says, “Kill? Was she even alive?”

Our samurai-hunting soldier demonstrates Justice’s cloning feature, even opening their cockpits to reveal that each mech contains a Justice duplicate. (I dare you to find an essay that uses the word “justice” more than this one.)

Justice is a program, something that used to be human whose personality has been digitized and copied to be used by Mago Group. Not only is this highly illegal—who knows how the Royal Court(19) will punish this—but is also just a “congratulations, you are absolutely terrible” move on Mago Group’s part. It’s even explicitly stated that there was an original Justice who wasn’t like this, but Mago Group took this Justice, then digitized and copied her and made her a corporate lapdog. Kind of like how companies will take a people’s movement and alter it to suit their own ends without realizing why the original worked in the first place. You know, like the corporation-fabricated Saw Patrol trying to ride the coattails of Barbenheimer. 

After that unsettling revelation, Mari checks the warehouse for any operational flying cars. But since all of them have been destroyed, there’s only one way to reach the top of the city now. And that’s through the enormous Mago Electronics factory. 

Chapter 3: Installation

Good luck on this chapter. So here’s the thing: certain sections in this level require a high degree of precision timing. Trust me, you’ll need that luck—wait, you’re telling me that the devs altered some levels to be easier after there was a lot of discourse around the factory being too hard? Alrighty, then. Well, uh, keep the luck, I guess. 

The factory is in an emergency lockdown mode. Nice. Oh, and Mari says she’s heard all kinds of ghost stories about this factory. Clear nonsense, right? The plan is to undo the lockdown in the control room, then take an elevator to the top of the factory. 

Mari still looks worried, so the General says, “No matter what happens, I’ll…” and SURPRISE FLASHBACK TIME! Yes, it’s time for another one of these! This time we’re in a dinosaur costume, because yes,(20) while our kid is cosplaying as Justice. It’s all very cute until the daughter runs towards the house and it blows up. Oookay, then. The General snaps out of the memory zone and, after Mari asks him why he stopped talking, completes his sentence: “..get you to the top level.” It seems that he intended to say “I’ll protect you,” based on what the daughter says in the flashback, but then he got distracted. Whoops. 

Now after all these flashbacks, I'm sure you all have a burning question in the forefront of your mind, one of the biggest mysteries of the game: WHERE THE HECK IS THE KID’S MOM? 

Our dynamic duo (how many nicknames can I come up with on the spot, I wonder?) make our way through the factory, which is absolutely enormous. There’s also a large machine called the Overseer that manages everything, but it’s pretty far away. At least for now. Once we reach the control room, our characters start talking about Mago Group and how it seems to be trying to destroy Mago City in its entirety; every aspect of the city’s destruction is running smoothly, meaning it must’ve been planned out over a long time. Mari says that this couldn’t have been accomplished by people outside Mago Group, meaning that it’s Mago, not Sanabi, that’s destroying this city. 

It’s right around this time that the lights in the factory turn off. Mari orders the lights to turn on, but she doesn’t have sufficient authority despite having admin access. Apparently the Overseer turned the lights off for whatever reason; undoing the lockdown turned it on, it seems. Luckily, the elevator’s still working. 

While we ride the elevator up, Mari explains that hackers discovered that this factory was using way too much power than it was supposed to, even with its absurd size, and anyone who dug deep enough into things ended up disappearing. And then the elevator stops going up and starts falling instead. Isn’t that just pleasant? 

The elevator stops on the same level we started on. We step out of the elevator… and the Overseer is staring at us. 

And here begins the horror movie section of the game. 

According to the devs, it was extremely difficult to incorporate the Overseer as a 3D element in a 2D game; it required months of editing the model, lighting, colors, etc to get it to look just right for those horror points. I love how the end result looks, so good job, devs! 

Mari has a breakdown and the General tells her to get out of the city. “You can let me win just this once, can you?” he asks, and Mari leaves. 

Time for analysis, which is the whole reason I started writing this (and there’s been very little of it so far for some reason, which I need to change). There’s a constant push-pull dynamic between the General and Mari, with the General constantly prioritizing Mari’s safety and asking her to leave the city, with Mari wanting to be able to act more independently. It’s a simulacrum of parent-child dynamics, which you probably already know isn’t uniquely a Korean thing—although family drama is quite common in Korean media, all things considered. Think of all the K-dramas where the heroine has to deal with her overbearing mother. Not really a surprise when you consider the culture’s strongly Confucian values and how strongly they prioritize a good family dynamic (this is called filial piety), an aspect of East Asian collectivist values. 

It’s pretty clear the game is pushing this familial dynamic with these characters. There’s a father who’s lost his child and a girl who’s lost her father, and it seems obvious where this is going. But then there are the holes: memory manipulation, the whole deal with Justice. Things definitely aren’t as they seem. 

Back to the game: it’s on to swinging through the factory while a giant death robot watches us. The whole deal with this part of the game is that if you spend too much time under the gaze of the Overseer, you’ll die. Luckily, the game’s pretty generous with hiding spots (at least for now). The game also introduces new mechanics in this section at a manageable pace, which include: 

Stationary plasma beams

Moving plasma beams that target you if you enter their radius

Batteries that you can control like an enemy and throw at obstacles

Worker bots that you can take control of to hold down buttons or hit buttons that are otherwise inaccessible

Wait, the General can control robots? And the robots come equipped with a grappling hook? Isn’t that kind of weird? Eh, I’m sure it’s just a fun gameplay mechanic thing that totally isn’t foreshadowing. 

There’s a point where the Overseer nearly kills the General, but Mari comes in to the rescue in a flying car. “Did you miss me?” she asks. 

Once everyone’s been driven to safety, the General asks Mari why she came back. She explains that the Overseer is equipped with a Medusa processor, which is a device used to hack and permanently delete data, then says that she can’t stop what she’s doing now, not when she’s waited her whole life for this. Mari also adds that he has to keep his promise of getting her to the top level. 

Oh, and she’s stashed a bunch of guns plus a boxed totally-not-a-Nintendo Switch in the car trunk (this factory makes a ton of stuff, apparently), but unfortunately she forgot to bring bullets for anything. That is, except for a handgun, but the General tells her not to use it. Guns are dangerous, you know. 

The General also manages to say “thanks,” which is pretty neat! He’s loosening up and all that. Mari also offers him a present: a harmonica. She tells him to try it since her father used to play for her; unsurprisingly, he doesn’t know how to play it. Shrug, I guess. 

Now it’s time for another one of Mari’s plans! She says that the factory is being powered by a backup core; if they can reach that and limit its output the Overseer will lose power and they can get out of the factory safely. The General is skeptical, because literally none of Mari’s plans have worked out thus far, but we all have faith in her, don’t we?

Unfortunately the flying car is in a less than optimal state, so Mari and Mufin will take the vents. The General will just have to traverse the factory the more dangerous way—namely, platforming via grapple hook and feeling amazing. 

Once we’re done, we find a lot of worker bots all neatly lined up. Mari pops up out of the vent and, uh, starts talking to one? She’s curious about the General’s robot-possessing ability, but it’s weird that she’s addressing the robot. And later she plays it off as a joke, but I think we all know something’s up. 

Anyways, on to the next CEO portrait! This one’s of Director Sylvia, a reference to a prominent Korean Twitch streamer who backed the game. 

The characters reach the backup core, which Mari observes is an older model, ten years old at least. The General seems to think it’s the newest model, though, which is odd. Then the core’s guardian, another giant robot, shows up. Things get weirder, because the giant robot directly addresses the General as “Worker 17287,” then tries to kill him with a photoevaporation plasma when he’s designated a “malfunctioning project.”

It is now time for the plasma beam parkour boss fight. While Mari tries to hack the guardian, you have to make your way behind large training panels before the plasma beam can reach you. A neat element of game design I really like is that once you’re hiding behind a panel, the plasma beam speeds up so you don’t have to wait as long. 

The General nearly dies (again) and Mari saves his life (again) by replacing the guardian’s program with, and I am not making this up, the Morning Star Teacher. Since its original program was completely replaced(21), the whole “Worker 17287” thing will have to remain a mystery. At least for now. 

The guardian abruptly shuts down and the platform beneath the characters begins to lift up. Behind them, red lights turn on, revealing dozens, if not hundreds, of cores that are powering on. Beethoven’s Egmont Overture(22) begins to play; a drone appears and addresses the characters in the kind of dull corporate language that you’d expect, but there’s a bit of a twist here. 

“Executives and staff members remaining in the factory, how are you? We would like to sincerely thank you for your service to Mago Electronics. Please be informed that as of this moment, the central factory of Mago Electronics is completely closed. According to internal company regulations regarding to factory closures, all objects, equipment, structures.. and humans remaining in the factory will be eliminated. If you believe this process is in violation of your human rights, we will inform you of the appropriate response through our legal representatives.”

All these cores are what’s responsible for the factory’s abnormally high power usage, it turns out. The platform rises through a floor; we’re about to see something big. 

“In accordance with the factory elimination process, the Overseer has entered Obliteration Mode,” the drone continues. “The elimination process will be executed through the de-ionization plasma accelerator. If you experience any damage, aside from death, eradication, or evaporation, please submit a letter of explanation to the Damage Compensation Center with documentary evidence of the facts related to the damage. A representative will inform you of the appropriate compensation.”

The characters turn around to see the Overseer behind them, its plasma beam being affixed to it as the emergency lights flash. The classical music is utilized very well with the scene, and the devs have stated that this is a sequence they’re quite proud of. 

The music winds down. The drone says, “There is nowhere to run or hide. Please make sure to meet your demise with integrity befitting a member of Mago Corporation. Thank you. This was Mago Electronics.” It self-destructs shortly afterwards. 

You can watch (or rewatch) the scene I just described, and definitely didn’t do justice, here. It’s in Korean; you can find the English version in the playthrough I linked at the top of this post or in another playthrough video. Flashing lights warning! 

The Overseer is trying to kill you again, but this time with a giant plasma beam and with even less time to get to safety. It’s quite tricky and a lot of people struggled with this section. And the thing is, bumping down the difficulty doesn’t help since the plasma beam is basically an instakill.; this section of the game got a lot of flack from players, which I completely understand, and the devs have tweaked the level design post-release. The track that plays is titled, rather appropriately, “Meet Your Demise With Integrity, Please.” Please go listen to this game’s music, it’s fantastic. 

Mari manages to temporarily take out the Overseer by using the emergency batteries, but the General is pretty tired. So tired that Mari has to drag him to safety. 

Turns out he’s getting another flashback, but this time his daughter is telling him it’s important to make it to the end. They’re an altered version of the Arc Words. 

The elevator’s been destroyed by the Overseer and Mari says there’s only one way out of the factory, but the General’s gonna have to trust her on this one. She instructs him to jump off a ledge when she tells her to, and when he does, he lands on Mari’s flying car, which is barely holding itself together. It’s nice to see their rapport improving throughout the story like this. 

Mari’s plan is to ride the central ventilation shaft out of the factory; given the amount of energy this factory is currently producing, the ventilation is in overdrive and the wind speeds are akin to a tornado’s. Unfortunately the car’s steering wheel snaps off, so you have to steer the car and keep it from colliding with obstacles. Yes, this is a gameplay segment, meaning you can ride a flying car out of the factory. This, my friends, is pure distilled awesome. 

The car crashes through the ceiling and into the sky. Nice view from up here. 

Unfortunately, the car’s not working and we’re about to plummet to our imminent deaths, so the General grabs Mari and uses his claw arm as a brake against the side of a building. And with that we’ve reached the upper level. 

Chapter 4: Unraveling

Unfortunately, Mari’s gone comatose. It’s flashback time for her, it turns out! 

Mari, turns out, lives in an apartment by herself. The window is shuttered and the room is filled with garbage bags. She hasn’t been taking care of herself, like, at all. 

Mari puts her face in her hands. “I killed him,” she says. 

We see events that happened a few days ago from Mari’s perspective. She’s been investigating Mago Group for quite some time to the detriment of… living, as she’s dropped out of school to put all her efforts into hacking. She’s gone full hikikomori, basically. 

A colleague of hers on the computer asks if Mari’s been using the memory converter again, which reinforces her statement earlier that she’s used false memory implantation before. It probably has something to do with her statement that she killed someone (who? her father?) and is trying to forget the incident or something like that. It doesn’t seem to be working, if I’m honest. 

Mari and her colleague have been investigating personality digitization technology by hacking Mago Group’s networks. The colleague has uncovered a top secret project—the Sanabi Project. Mari recognizes the word “Sanabi,” but it’s unclear what it means or represents. 

This seems to be the digitization tech Mari’s been looking for. Strangely, the project is about controlling personality data through indirect means, but there’s nothing in the project about creating said digitizations; this personality data seems to have come out of nowhere. 

Personality digitization technology/brain uploading is a Class-1 forbidden technology; even possessing or researching it is highly treasonous and can result in the deaths of everyone involved, their family, friends, and even neighbors. How pleasant. 

Unfortunately the colleague didn’t take the right security protocols, so Mago security agents show up at her house and… take a wild guess. When the agents learn the Sanabi Project has been shared, they decide to activate something called the final resolution protocol. 

Mari wakes up in the upper floors of the city. The General asks her if she’s really after revenge or answers like she said back at the train station, because it sure doesn’t seem like it. Mari doesn’t want to answer, but eventually reveals she’s helping him because she wants to keep a promise with her father, whatever that means. 

Also, Mufin is dead. The General found a similar drone with a cloaking feature as a replacement, but Mari really isn’t happy about the fact that her drone companion died. “Are you serious right now?!” she asks. 

“Mari. Come on,” the General says. “That’s just a robot. A tin can that mimics a human. A machine can’t become a human just because it can mimic one.”

“It.. Mimics a human?” Mari asks, incredulous. 

“Yeah.”

Mari sets down her drone, pulls out her harmonica, and holds it out. “Play! You know how to play the harmonica!!! Come on and play!”

“Mari,” he says. He’s gentle but insistent(23). 

Mari raises her sleeve to her eyes. “Please.. Please play for me..” she says, her voice weak. “You know how to play… You have to know..”

“Mari. What do you want from me?” the General asks. Mari tucks away the harmonica, her head still lowered. She turns from him, starting to walk away. 

“I’m not your father.”

A pause, then Mari laughs. It’s a hollow, joyless sound. 

The General is… concerned, to say the least. “Mari?”

“Never mind. Yes, you’re right. You are not my father. It’s so simple now that I think about it.” She doubles over and laughs even harder. It takes several moments for her to regain her composure, and she clears her throat. “Sorry, Mister. I just got a bit emotional.”

Okay, so Mari, um, definitely needs a hug. 

Mari tells us that Sanabi is at Mago HQ. She herself also has to go there to do something. “So I guess we just happen to be going the same way again? Shall we go together?” she asks. She also insists she’s okay, so she’s gotta be. 

Mari also adds that since we’re here to find Sanabi, “we have to make it to the end.” She says this phrase twice, by the way. We see that twisting of the Arc Words again. First we’re told that making it to the end isn’t important, but now it is? 

I’ve heard a really good suggestion/hypothesis that “you have to make it to the end” is a trigger phase. Like a sleeper agent kind of thing. Pretty interesting, huh? 

We proceed through the upper levels, though we don’t get far before encountering the national army’s combat robots—specifically the Tomb Troops, presumably some kind of special ops or elite combat unit. They’re here now, probably because of Sanabi, and they brought giant turrets. 

Our protagonist isn’t strong enough to face the army’s turrets, so Mari gives him a plugin chip and tells him to plug it in. And now it’s flashback time again. 

We’re back at the training course, but our daughter is here with us too! Somehow she made her way into the top secret military base and wants to watch her dad train. After we finish the course with our new charge attack, Major Song drops by and plays with our daughter. She reveals that our daughter managed to get in here because the base was hacked, but only the base’s barrier was raised with no apparent motive; that was what allowed our daughter to get in. But before Song can finish her train of thought, the memory glitches out and ends. 

Turns out that the chip is an overpower chip like the kinds used in the army. How did Mari get her hands on such a chip? She says she got it from the black market, but that’s an obvious lie. When the General tells her this, Mari responds with, “Sanabi!!! Don’t you want to go after Sanabi!” before telling him that ignorance is bliss, she can’t really explain the situation, and it would be best for him to focus on the original goal. 

After encountering several hazards, including an off-screen sniper trying to blow us up and a floating cargo box that explodes, our characters finally hitch a ride on a flying train headed straight to Mago HQ. Mari plays that haunting familiar tune on the harmonica again, then our characters have another heart-to-heart. The General tells Mari to leave the city again, Mari tells him to stop since she’s not his daughter, then she asks him: “Did you.. love your daughter?”

Clearly the General answers yes, but Mari responds to this by saying, “Then you must really hate Sanabi.”

“Mari…” the General says. “Did I tell you that Sanabi killed my daughter?” (He didn’t. Mari just knows.)

Mari responds by telling him he’s… well, something, but whatever she said, it manifests as visual noise in-game. She says something else too that’s also censored. As the General puts it, “[t]here’s a noise on the voice.” He physically can’t hear some words. 

Unfortunately, their troubles aren’t over yet. A giant military helicopter, the Firebird, appears and it’s time for another boss fight. The General tells Mari to separate the flying train cars so they don’t all get destroyed at once, so you have to fight the Firebird while holding onto floating trains as platforms without falling to your death. Also, the Firebird is shooting at you, dropping bombs, and shooting missiles, destroying the train cars; and as Dan put it, “replacements [new train cars] come, but never as fast as you want.” You have to beat it by launching the exploding cargo from earlier at it, which come from destroyed train cars. Fun fact, this is also the most annoying boss according to speedrunners. 

Once you’ve defeated the Firebird, the conversation with Mari resumes. Mari’s up to something, and she keeps being all, “Haven’t you figured it out already?” Whatever’s going on, maybe it’s obvious to her, but it certainly isn’t obvious to the General. He asks if Mari’s colluding with Sanabi, and she says she isn’t, but when asked to explain, Mari says it isn’t easy. Given that the General can’t even hear certain words, she’s right. 

The train car they’re on lands in Mago headquarters, and shortly after landing Mari sees something that horrifies her and makes her throw up. Whatever it is, we can’t see it. Mari says she needs some alone time and leaves. 

By now I’m sure you all have your suspicions. I absolutely love how the game foreshadows the reveals later on, by the way. I was watching Dan’s videos as they came out and paying close attention to the speculation in both the YouTube comments and the unofficial fan Discord. I was surprised by how close the guesswork was to the truth, and I have to commend the game for laying the foreshadowing so well. The hints are never too revealing, just enough to allow you to put the pieces together before the reveals proper without it being too obvious. At least that’s how I see it. Some people like Yahtzee Croshaw didn’t like how the reveals were handled, but clearly these people are wrong and I am the only correct authority in all media.(24)

When the General finds Mari, she tells him she’s sure Sanabi is somewhere in this building. Then the S.O.S activates. Yeah, remember that from the beginning? The program opens a door in HQ, allowing us to access it. Inside is a room full of computers, but only one of them is active, and it’s talking about an abnormally activated project or the like. Apparently “Worker 17287” needs to be reactivated, so the General hits the shutdown button on himself. (Don’t ever do this to yourselves, people.) He gets knocked unconscious, the S.O.S tries to reboot but fails, and when he wakes up, there are corpses now! Wait, what? 

Yeah, there are now corpses scattered throughout Mago HQ. When the General runs back to Mari to tell her about this development, Mari says, “It looks like the filter got turned off.” She then tells him she’s located Sanabi: “It’s in the basement. Sanabi, what you’ve been looking all over for. Isn’t that all you cared about?”

The statue in the main hall activates, revealing itself to be a robot, and instructs any remaining Mago executives to commit suicide according to the final resolution protocol. Mari states that Mago Group is destroying the city because it’s committed high treason, which is punishable by the death of ten generations(25). It would much easier to just kill everyone and erase all evidence. What’s the crime, then? Mari tells the General, “Your mere existence.”

She also tells him to question himself, saying “Who are you?” Around this time the statue comes to life and is about to kill the characters for disobeying the final resolution protocol, but before anything can happen the statue’s head is promptly smashed in by a large metal sphere. It’s Major Song from the army, from the prologue. She’s here to save the day, right?

“Long time no see,” she says. She walks towards the General and passes by him, stopping in front of Mari. “Miss.”(26)

The two have a terse conversation. Song tells Mari she’s here to take her out of the city. A nuclear explosion is imminent, and that’s why the army is here. 

Our General is very confused and asks the two to stop for a moment, even putting his hand on Song’s shoulder. In response, Song grabs him by the chain arm and throws him against the ground. “How dare you put your hand on me?” she says. 

So remember when, way way earlier, I asked you to remember that Mari refers to the General using the title “아저씨?” Well, now is when it comes up again! Sorry to interrupt the scene, folks. 

You probably know that Japanese utilizes a complex system of honorifics to properly address other people; many of you are likely familiar with the -sans, -samas, -chans, and -kuns of the Japanese language thanks to the prevalence of anime. Well, Korean, being a language that is closely related to Japanese, also uses a ton of honorifics and titles (as well as different verb endings depending on level of formality, but that stuff is beyond my extremely limited Korean). I will point out a few titles that are relevant to this essay. 

“아저씨,” romanized ajeossi, is—like I mentioned earlier—used to refer to a man older than the speaker. The honorific -ssi (pronounced “shee,” despite what the romanization thinks) in particular is used when the speaker is addressing someone who is of the same or of a higher social status. It’s an honorific that’s used for acquaintances, basically people you’re not very close to, and it’s rude to use this when addressing someone you know well. 

So when Mari uses this title to address the General, what does that tell us? It’s fairly simple: Mari is respectful but distant. As she said earlier, the General is not her father, and her manner of address reflects this. Hang on to this idea of her being distant, I’ll bring it up later. 

Another title we see in the game is “선배님,” romanized seonbaenim; it’s used to address a senior or elder in a given organization. The honorific -nim is used to address people of a higher rank than the speaker as well as people whom the speaker respects. 

We see Major Song and Colonel Baek address the General this way in the prologue. This isn’t out of the ordinary given their military ranks. 

Now here’s the kicker. Here, in Mago HQ, Song does not use honorifics at all when addressing the General. While this kind of thing would be acceptable between close friends or family members, this kind of language is completely inappropriate—like shockingly rude levels of inappropriate—given that Song is talking to someone who’s supposed to be her senior officer. 

Now I know what you’re thinking: “I can already tell Major Song doesn’t like the General! She literally threw him! I didn’t need that explanation!” Well, what if I told you I’m so fixated on the game I decided to write an essay about it, and one of its main goals is to give the reader some cultural context behind the game? Korean is a high-context language, and stuff like this is innately understood by Korean players. I want people who don’t speak Korean, including myself, to experience it a bit like the Korean speakers would. That is why I went off on a whole tangent about the Korean language. 

So given all that extra linguocultural context, let’s get back to the game. Anyways, Song is about to straight-up kill the General when Mari says, “Wait! Just let the mister (ajeossi) go.”

“Mister? Did you just call him ‘mister?’” Song asks. She turns towards the General, then back towards Mari. “.. Are you role playing or something?” Here, Song cannot comprehend why Mari is using a polite term. 

Song says she had to break a lot of rules to get here, and Mari pulls out a gun. Yeah, remember that? When Song asks what Mari’s gonna do with the gun, she presses the muzzle against her own jaw. 

“Let him go. He.. needs to go. To the basement.” Mari pauses and addresses the General. “Mister? It’s confusing, right? I’m sure… nothing makes sense right now. Just remember one thing. Sanabi. Remember. You’re here to find Sanabi. Find Sanabi.. And get your revenge. What’s important is making it to the end.”

And then Major Song picks him up and throws him away.(27)

We find the General in an elevator. Once it stops, he gets up and slowly makes his way to the door, after which he tumbles down a flight of stairs illuminated by the glow of the elevator. It’s a metaphorical fall from grace: he’s been rejected by Song, and even Mari has told him to leave. There’s nothing left, and this is our lowest point. 

The tumble/flop is kinda cute, actually. I am enjoying these animations way too much. In fact, these animations are so good this game appeared in a video about the best game animation of 2023! (28)

The General tries to get the chip to work again, but to no avail. He’s slumped against the wall, defeated, and a ghostlike memory of his daughter runs past him and away from the stairs leading up. That’s when the lights leading downstairs flicker on. 

I think everyone who’s existed on this earth can tell this is symbolic of heaven and hell, with the stairs going up illuminated in white light and the stairs going down cast in red. Even the small details are telling: the stairs up look more polished and are lined with flowers, while the stairs down are more industrial, complete with a railing and pipe. The track that plays here is titled “The Final Crossroad,” and our good ol’ SANABI leitmotif returns. 

When the General approaches the stairs leading up, he sees a memory of sorts. It’s a ghostlike image of the daughter behind him, almost as if she’s compelling him to go down, to descend into hell, and find Sanabi. To take his revenge. For her. 

Here you’re given a choice: you can head back upstairs to figure out whatever the heck is going on, or head downstairs and destroy Sanabi. 

And if you approach the stairs leading down, you see another “ghost” memory, but this time of Mari, who’s been your companion throughout this game. You have to choose between the past and the present. Revenge or salvation. Heaven or hell. 

This is where the dialogue choices come back, by the way. When you reach the foot of each stairwell, you’re basically asked to confirm your choice—you can pick ��…” if you haven’t decided yet and “Going Up/Down” to confirm your choice. The game is essentially telling you to choose wisely, although I have a pretty good idea of which direction most players wind up taking. 

While the upstairs ending is the true ending, let’s take a look at the downstairs ending first, since it’s fairly short. 

We open on a group of Mago personnel in a large control room, illuminated by an enormous white screen, discussing the overheating nuclear reactor. Their plan is to keep it overheated so it’ll eventually explode and wipe Mago City off the map, leaving no trace of anything behind; apparently it’s “the only way Mago Corporation will survive.” We can surmise they’re talking about destroying their city to cover Mago Group’s tracks.

The door bangs and the security personnel immediately train their guns towards it. “Who goes there?!” one of them shouts. The door opens and a person, stumbling and bleeding, runs out, managing to scream about “the project” before a mechanical claw grabs him and pulls him back through the door. 

What follows is a sequence that looks as though it’s pulled straight from a horror film. The enormous screen turns red and flickers intermittently as the General slaughters everyone in the control room. The scene is absolutely terrifying, in no small part thanks to the music that plays during the scene, the sound effects, and the excellent animation. I cannot praise the animation in this game enough, it seems. 

The last person who hasn’t yet been crushed into a pulp says, “You’ve been deceived. Sanabi doesn’t even exist.” 

The General kills him. “I don’t want to hear it,” he says. He surveys his handiwork, then pulls out the Steel Tiger medal. It’s heavily scuffed, with its eyes in particular being completely blacked out. 

We flashback to when the Steel Tiger was unmarred. It’s another memory with the daughter, but something’s wrong. The screen glitches heavily, the daughter’s words break down and repeat—then she says, “Sanabi eliminated. Mission accomplished. Terminating project.”

We return to the control room. “It’s important…… to make it to the end,” the General says, presumably his last words. And that’s it. The game takes you back to the menu after this. 

You can find the scene here. The video does contain flashing lights. 

The achievement you get for picking the downstairs ending, by the way, is “What’s important is seeing this through to the end,” with the description “Chose the lie you want to believe.” At this point in the game it’s clear that things aren’t as they seem, but if the General decides to head downstairs and continue his original mission, he’s ignoring these developments in favor of giving in to his rage. The Steel Tiger’s blacked-out eyes in particular represent the General choosing not to see the truth in favor of, as the achievement puts it, the comforting lie. (And Sanabi doesn’t exist? What is that supposed to mean? We’ll see.)

While I was surprised the downstairs ending wasn’t longer than this—maybe I was hoping for a longer wind-up and thus more suspense—perhaps this was the best way to go about it. It’s befitting of a Korean revenge story: bloody, brutal, and not quite as satisfying as one might expect. And besides, I can’t really think of anything I want to add to this ending. A level, perhaps? A boss fight? Those would’ve detracted from the ending, and it seems to me that the devs’ intent wasn’t to make revenge glamorous or appealing, as gameplay would make it, but rather… deeply unsettling, and perhaps a little sad. 

Now let’s double back and take a look at the upstairs ending, the golden ending, whatever you want to call it. Here we’ll find the answers we crave. 

We head upstairs, where Major Song is waiting for us. She doesn’t seem to understand anything we say, and she tells us she’s impressed by everything we’ve done in the city. 

And that’s when she drops the bombshell. 

“Advanced combat bots are targets of concern for their mere existence.”

There’s a pause, then she adds, “Yes, I’m talking about you. You.”

“I’m a combat bot…” our General says, lowering his head and raising his hand to his hat.(29)

Song tells him, “I know you saved that girl a couple times. And I’m grateful for that. Truly, I am. But that’s that, and this is this. I can’t just pretend I didn’t see you.”

She activates her metal sphere. It floats into the air and starts spinning. It’s also on fire. Oh, and the boss music kicks in, too. 

“What you are… Why you are with the girl… I have so many questions, but I won’t ask. Because we’re not supposed to be curious.” Song pulls out her shotgun and spins it in one hand. “I shall execute the king’s orders.”

Major Song’s boss fight is the final one in the game, and it comes with an appropriately intense soundtrack: “The Execution of The King’s Order,” which you can find here. The powerful beat is complimented by Latin chanting, which according to the composer doesn’t have any particular meaning; it’s simply using the voice as another instrument. Wish I could tell you more, but again, music theory really isn’t my strong suit. 

Song has an immediate counter if you try to grab her; you have to use your charged attack if you want to land any hits. After enough hits, she transitions to her second phase. And like all good sequential boss fights, she has a cutscene between phases. 

She staggers onto a platform. “You.. What are you? How are you fighting exactly like the general?” She removes the military goggles on her head. “Yes.. I see. So that’s what it was. I sensed that something was off from [a] long time ago. There’s no way he would’ve died so easily.”

Her fist tightens. “You… You must have something to do with the general’s death.” The goggles break in her fist. “Forget about dying an easy death. I’ll chew on your limbs into a mulch, and then tear your head off and see for myself.”

And that’s the transitional cutscene. Fun!

Once you manage to beat her, the game transitions into QTEs where our General and Song engage in a close-quarters fight. The animation conveys the physicality and brutality of the fight very well, and I love it. 

Once Song is defeated, she tells us, “Do you even know who you’re mimicking?! A tin can like you shouldn’t dare do that!” So the General was a real person, and we’re a digitized copy. Like Justice. 

It’s around this time that Colonel Baek shows up(30), along with a squad of military bots that have surrounded the area using cloaking technology. He tells us not to move, but our General stumbles towards him anyway. He’s confused and hurting from Song’s apparent betrayal, he just learned he’s a robot, and he’s looking for something, anything that’s familiar to him. 

Baek punches him, of course. Hard enough to send him flopping onto the ground. It’s a physical and metaphorical gut punch. 

Baek tells Song that the military has been ordered to withdraw from the city. An explosion is imminent and the Royal Court has arrived to use “it,” which appears to be a floating palace/airship/superweapon, although the game never clarifies what it is exactly. When Song asks where Mari is, it turns out she left military custody and has chosen to stay in the city. 

When our General tries to talk again, Baek says, “There’s an encryption filter on its voice.” So this is the reason the military couldn’t understand us, but Mari had zero problem with that, presumably because she’s a hacker. So if she knew we were a robot the whole time and not an actual person, why did she act like we were human? What’s up with her?

Song removes the filter and our General addresses the two by name. Baek asks, “How do you know our names?”

“I guess… the memories aren’t all fake,” our General responds. He then addresses the two as “Special task force of Uigeumbu No. 17. Colonel Hotae Baek. Major Isun Song.”(31)(32) He then adds, “I have a question for you instead. What are you guys doing here? The order for Operation 0… Is this fake, too?”

They decide to knock him out for interrogation later, because honestly, if you found a robot copying your dead superior officer, you’d have a lot of questions. 

Chapter 5: Reunion

Scenes from the prologue reappear, but they’re… wrong. Visual glitches occur, there’s a distinct lack of music, and the General never speaks in these replayed memories. The dialogue is different, too.

“Sir, the operation has been confirmed. The briefing will commence. This helicopter is currently flying above (SNB_target_location). Approximately 24 hours ago, (SNB_target_situation) was established. Even though the tech department has concluded that it’s a (SNB_target_possibility), no other news so far.”

Other lines of dialogue follow in this vein. We even see our daughter tell us that making it to the end isn’t important, but her words promptly glitch out. 

After this we get a little scene in the military plane; our General is still knocked out. According to Song, he has a so-called cognitive restraint preventing him from recognizing humans, meaning that from his perspective, the world is completely devoid of people, although she doesn’t quite know why. She also adds that this filter doesn’t seem to include herself or Baek. All she can do for now that won’t cause the digital personality to reset is lower the security level; only the digital mind can remove the restraint from themselves. 

“If this is really the general… then I know he can do it. He’s always done the impossible,” Baek says. 

We return to the void with our daughter for—what, the fifth time? I wasn’t keeping track, so I actually have no clue. Our General realizes something is off, though. We’re taken back to the beginning of the prologue yet again, but this time, when our daughter runs towards her dad to hug him, she glitches out instead and says “Memory replay was denied.”

“Is this… A dream?” our General asks himself. He runs past his daughter, then stops and turns around as the world abruptly turns into a computerized, blue-green landscape. 

Our General sighs, then proceeds. He’s gonna figure out what’s going on here, and so are we. 

The music of our memories, titled “Digitalized Dreams,” also includes the SANABI leitmotif—albeit in a distorted form. I only noticed because I listened to this composition about eighty thousand times. This track is great, by the way. There’s a slight sense of dread that permeates the track, and the computerized sound/glitch effects really help sell the setting. I know like next to nothing about music theory, by the way, so feel free to enlighten me about… any of this game’s tracks, honestly. 

In this part of the game, you platform through the computer system and find recordings about a certain project, which you can now access because lowered your security levels, allowing you to access files you couldn’t have otherwise. While this is sort of infodump-y, video games are a preferable medium for this kind of thing: games are interactive, meaning the player feels like they’re discovering information rather than having it be spoonfed to them. 

And if you’re thinking, “Well, still not ideal,” that’s what the devs think as well. Like I mentioned earlier, this game was intended to be a metroidvania, with different abilities unlocking different areas of the map and the player slowly uncovering the mysteries that way. When they realized they couldn’t make such a game, they had to restructure the reveals in this way. Personally, I think this still works decently, but like I said, interactivity is key. 

However, since this is a blog post (and I still have to recap the game to refresh people’s memories as well as for the folks whose first exposure to this game is through this post), this key element will be lost here.(33) So I’ll just bullet through these recordings real quick. Or, you know, as quickly as I can given I’m the kind of person who just will not shut up about things they like. The length of this post is, I believe, demonstrative enough. 

Record 1. Meeting: Some of Mago Group’s CEOs and a group of researchers discuss starting a project Mago Group has wanted for a long time. The researchers are basically forced into this high-risk, extremely illegal project with no choice. The head researcher also asks where the personality data for the project came from. 

Record 182 Regular Report: The head researcher clarifies that digital personalities work the same way as a fleshy human would, so they can’t just give an order to the project and expect it to be perfectly obedient. Attempting to control personalities directly resulted in failures such as Justice, so the researchers have decided to indirectly control the project using the desire for revenge. 

Record 478 Regular Meeting: Simulations of the project repeatedly gives up on getting revenge, so the head researcher suggests changing the target of the bombing from the project’s wife to his daughter, since his daughter provides mental support. It’s easy to tell when a memory is fake, however, so the head researcher suggests limiting and reordering the project’s memories. 

Record 1190 Regular Report: The memory alteration was successful, causing the project’s rate of giving up on revenge to drop drastically. However, there’s a concept known as “Sanabi” in the project’s psyche that serves as an allusion to not having to make it to the end that also causes him to give up revenge. Also, more Elon Musk slander! 

Record 2379 Urgent Meeting: The researchers are looking into Sanabi, trying to figure out its source, but they can’t find any information about it in the project’s memory. That’s because whatever memory it was, along with the memories regarding the wife’s death, have been purposely removed from the project since its creation.(34) Sanabi is a concept from a deleted memory. Oh, and the person who made the project was said project’s daughter, Mari. 

Record 2801 Regular Report: The head researcher tells the execs that the best way to deal with Sanabi is to make it the target of revenge, thus weakening it as a concept.(35)

Secret Wiretap Record 283,951 Research Team 1: A researcher brings up the Final Resolution Protocol, which will destroy the city if the project is ever leaked. In addition, Mago Electronics has released a new product, the Worker robot, which has a wire arm that behaves identically to the chain arm used by the project. These workers are being mass produced, and the researchers suspect Mago Group is planning a coup. 

Record 3777 Ad-hoc Meeting: The head researcher explains to Director Choi that a cognitive filter, meant to be a mental stabilizer, has been added to the project. This filter prevents the project from being able to see human beings; it’s intended to a) produce an inexplicable situation where Sanabi has caused humans to disappear, thus making the project’s incongruities seem unimportant by comparison, and b) to prevent the project from receiving information that contradicts the false narrative the researchers have made. However, the filter includes a few exceptions—presumably because those people already appeared in the project’s memories, or something along those lines.(36)

Record X. Completion Report: 10 years after it was started, the head researcher presents the completed Sanabi Project to the Mago execs and is promptly shot by the head of security. All the researchers have been killed to prevent them from leaking information, and security has been ordered to kill anyone that finds out about the project. Mago Group’s CEO, Director Kim, then makes an anime villain speech about how Mago Group deserves to rule Joseon instead of the Royal Court. 

These records also come with so-called source memories, i.e. the unmodified, original memories, i.e. what really happened. 

Basically: 

The memories of the project were reshuffled, as stated in above. Kid Mari didn’t die in the explosion. 

The General on his little revenge spree is somehow even scarier, as other characters point out he’s basically working outside the law. He also calls the enforcement bureau “[the weapons dealer’s] best friends,” which I’ll bring up later. 

The General was the one who ordered Operation Zero, an operation to wipe out multiple criminal organizations. He also seems to blame Baek for the death of his wife. 

Later on, he later decides to retire from the military to support Mari, since her mother is dead and all that. 

In one of the source memories, Song confirms that yes, it was Mari who hacked into the military base because she wanted to see her dad. She adds that Mari has seemed anxious since the death of her mother, though she’s not sure why. 

Alright, now let’s go over these points. 

First: So that’s why we never saw a mom in the flashbacks! 

Second, this explains a lot of the bizarre mysteries that have been floating around this game. Why did everyone in the city disappear without a trace? They haven’t, we just can’t see them. Why does Mari act so weird around us sometimes? We’re not really human, we’re a messed-up copy of her father. Why can’t we physically hear certain words? They’re filtered out as part of the program so we can’t figure out what we really are. Do the interception lasers target us because we’re entirely robotic as opposed to being heavily augmented?

Still doesn’t answer what Sanabi is, though it’s related to the repeated phrase about not getting to the end. Memories not fully erased and linked to the subconscious, mayhaps? Neither does it explain why Mari made a copy of her father sans her mother’s memories. 

Earlier I mentioned I’d discuss the corruption of the enforcement bureau, which was only mentioned once in a throwaway line… but I’ll still talk about it. It’s quite common in Korean media, like in the aforementioned revenge thrillers, to have the police force be incompetent or corrupt. This is rooted in—you guessed it—Korean history, where incidents such as the Gwangju Massacre in 1980 gave the populace a very dim view of the government, martial law, and enforcement of the leader’s will. 

Something I’ll note here: The researchers changed the target of revenge because otherwise, the project would give up quickly to take care of his daughter instead. This is something I absolutely love, by the way. Perhaps in a story made in the West, the General’s pursuit of vengeance would lead to his daughter turning bitter about being neglected, leading to a confrontation of sorts. But not here, not in a game from Korea, where devotion to family is so deeply entrenched in the culture. Here the General will always drop revenge to take care of his only child instead. It’s sweet. 

A quick note (I have a lot of these, holy moons) of clarification from me: The Final Resolution Protocol was activated when Mari’s colleague uncovered the Sanabi Project as part of security measures. Using and altering a digital personality like this is basically the most illegal thing anyone can do, and judging from the info we got from the bad ending, we can figure out that Mago Group decided to purge its executives and destroy the city to get rid of evidence and ensure the corporation’s survival. 

After all that, our General sees a memory of Mari and recalls the promise he made to her: that he’ll get her to the top floor. It’s an echo of the first time he said it, back at the factory, but with added weight and meaning this time now that he knows who both himself and Mari are. 

After this, our General wakes up from coma (hibernation?) land and looks into a mirror. He finds a robot staring back. 

The old members of the unit acknowledge the robot as their General when he completes the army motto—“We are owls that never cry and tigers that don’t leave footprints.” If you recall the Steel Tiger medal that appeared several times throughout this game, we get… TIGER SYMBOLISM! The tiger is a powerful guardian in Korean folklore(37), so yeah, I can see the military incorporating them as a symbol of might. 

Anyways, before I get too distracted I have to finish writing this post that’s already a gajillion words long, but, you know, we’re in the home stretch. Our General’s told he’s been dead for ten years and that the Royal Court intends to use “it” (i.e. their unspecified WMD that can make Mago City literally vanish) before the reactor explodes. Our General decides to return to the city to see Mari one last time; he made a promise to her, after all.(38) Baek gives him his own hat, and Song returns his worn, scratched Steel Tiger metal. “You.. You’ve gotten rusty,” our General says. He asks them to take care of Mari—he doesn’t expect to make it out of the city alive. And with that he’s ready. He steps out of the helicopter. 

The thing that I love about this is that it’s reminiscent of the mission briefing from the beginning of the game, but with a few key differences. Such as, for instance, the General getting angry at Baek for letting his wife die in the source memory, and later telling him in this scene that there was nothing that could’ve been done about his wife. We have the briefing, of course, but this time it’s real and our General acknowledges his true identity. And most importantly, while the General’s helicopter is shot out of the sky in the beginning, here he falls out of the helicopter of his own volition. Now that he knows who he is, he’s been freed from Mago Group’s influence. It’s the first real decision he makes. 

Here’s a neat little fact. As we plummet from the sky, we pass the different levels of the city; its different color palettes have been emphasized here. The upper levels are mostly shades of pink, the factory is yellow, the business district is blue, and the slums are purple. Pretty neat, huh? The different color palettes really help make the levels feel distinctive. I love it. 

Our General lands in the slums, removes his limiter and breaks it, and looks up at Mago City. Yes, we’re going to ascend the city again but much faster, Celeste-style. 

The SANABI leitmotif also appears in “The Rise” and “The Long Voyage,” the latter of which also brings in phrases heard in other tracks. All in all, the leitmotif appears in a total of seven tracks if we include the title song. 

Between the occasional glimpses our General gets of real humans and, you know, gameplay, we’re also treated to black-and-white child drawings accompanied by explanations. It’s Mari!(39) For the second time in this game, we’re gonna get to see things from her point of view (the first time was when we got to play as her character).

Unfortunately Tumblr has an image limit of 30 per post. Which means I have to be economical for once, so here’s my favorite of Mari’s pictures. 

Mari tells us that her mother died in a terrorist bombing aimed at her father, and Dad was never the same afterwards. Mari wanted to help him, so she studied programming and used the army’s data to construct a digital copy of her father, all at the age of eight. All she had to do, she thought, was remove the memories of Mom’s death from Dad’s memories. That would make him happy again, right?

Mari finished the digital personality and presented it to her father. And, according to her, it “was the first and last time I saw my father in a fiery rage.” The thing is, just possessing a digital personality is extremely illegal, so Mari’s passion project could literally get her entire family killed for treason. That’s when gunmen enter the house, opening fire. Mari’s dad is killed trying to protect her. 

Mari’s computer, she later learned, had a backdoor. And the only thing missing from the house after the attack is a computer hard drive, the one with the personality data she had made. She entered a downward spiral, convinced she’s responsible for her father’s death, and used her genius computer skills to find who took the personality data. She found out that Mago Group was in possession of the technology and had altered her father’s data, turning him into a weapon Mago Group could turn on their enemies. 

As Mari herself puts it, “Innocence is a sin. And ungovernable talent is a curse. When these two meet… life becomes hell.”

When Mago Group discovered the leak of their top secret project, they initiated the Final Solution Protocol (we saw this in the Mari POV scene from earlier). Mari decided to grab a copy of the Project and place it in a worker bot. 

“What’s the point… Even I don’t know why I’m doing this. The Sanabi project is no longer my father. I know that better than anyone else. […] He won’t be able to remember me no matter what happens.” She later tells us that she struggles to remember her father with each passing day. “If I try… If I can show him my old self… Maybe he’ll remember me. It would be wonderful… for him to miraculously remember me. Will he be happy to see me? Will… he forgive me?”

So. Analysis time (again). 

SANABI, you see, is about grief. Our General sees his daughter die at the start of the game and lashes out violently in response; later on in the game, when we see his source memories, we can see that his wife’s death profoundly affected him. Mari herself says as much when she tells us that her father was never the same after the bombing. Then Mari sees her father die and becomes withdrawn and isolated, madly seeking out her father’s killer while her pain and guilt threaten to crush her. 

The developers have have stated there are plenty of inspirations for SANABI, citing Ghost in the Shell and Interstellar as being the strongest sources in the theme department. Ghost in the Shell is… complicated, but has a central theme about the nature of humanity as it collides with technology, exploring what it means to be human in a mechanical body. There is also memory alteration and a sentient computer program developed under the name Project 2501, but if I listed every similarity between this film and SANABI we’d be here all day. 

The film provides no definitive answers to the questions it poses about how human Motoko Kusanagi is—though the characters frequently bring up the idea of the ghost, or the human soul/essence, that remains intact even after one’s physical flesh has been largely replaced by machinery. The sentient program tells Motoko that he has a ghost, which makes him… human? Ghost in the Shell isn’t exactly easy to parse. 

Then there’s Interstellar. Yes, Interstellar, the Christopher Nolan movie about flying into a black hole.(40) This film’s link to SANABI is hard to intuit until you remember that Cooper’s arc is about connecting with his daughter and how love is the one force that transcends time and space and all that. So yeah, there’s clearly a thematic connection. 

According to Wonder Potion’s head developer Yun Seung-Hyeon, “Ghost in the Shell in particular is kind of the father figure that brought cyberpunk so far, and there's always this point where there's this incredible humanity in a technologized future where there's no humanity, and that's what I wanted to convey. […] Similarly, in Interstellar, I think it's humanity that saves the protagonist in the end in a universe hundreds of millions of light years away. There's a paradox of being saved by humans when you're so far away from them. I guess you could say that SANABI is also a story about humanity.”

What he is talking about is the irony of humanity, specifically what makes someone human, persisting even in the absence of physical humans. That humanity is exemplified as love and compassion. Even when surrounded by a noticeable lack of humanity thanks to the cognitive filter, the General—a machine—displays more humanity than the Mago Group executives who weaponized him. This game has a very strong sense of dramatic irony, especially on a second playthrough; for instance, Mari’s breakdown at the start of chapter four is immediately thrown into clarity if the player knows the General is a robot. Feel free to scroll back up to the part where I wrote it out, even if it’s several thousand words away by my estimation. 

Because SANABI, you see, is about connection. The General ascends Mago City for the second time because he made a promise to Mari. Mari placed the Sanabi Project into a worker because she hoped against hope to see her real father again, and even after that hope is dashed and dashed again, there’s still a connection, and when they see each other at the end of the game—whoops, we’re not there yet. 

It’s time, folks, for the ending. Which there is no way I’d do justice, so I’ll just leave a link here for you to watch and write up a recap. I’ll see you at the end.  

Mari programmed her copy of the Sanabi Project to stop the nuclear reactor from exploding, but even when said project realized who he truly was and returned to her, she doesn’t see him as her real father. He’s only a tin can that mimics a human, after all. A fake. 

Remember all the void flashbacks the General kept getting? They were from his subconscious, which finally dredges up the memory that makes Sanabi so important to him. He’s trying to play the harmonica, but his daughter tells him that getting to the end isn’t important if he gets all the notes wrong. But it’s alright. It took Mari a while to learn this song from her mother. 

Mari admits she’s sad about her mother’s passing. She tells her father that after her cat Mufin died, her mother would play a song on the harmonica for her, and her sadness would fade. Her mother also told her that with every hello comes a goodbye. 

Mari tells her dad she knows playing with her must be physically taxing, especially after work. But she appreciates that he still goes out of his way to make her happy.

Mari says she wants to be a soldier like her father and recounts imagined adventures that parallel the events of the game (fighting the Writ of Execution, taking a selfie with Justice, avoiding combat with the Overseer, and riding a flying train). 

She then asks her father to make her a promise to play this song, Sanabi, whenever she feels sad. The song is, of course, the leitmotif that’s present in multiple tracks throughout the game. 

We return to the present, where the General plays Sanabi on the harmonica. Mari hugs him, finally recognizing him as her father. She tells him how scared she was of acknowledging he was really dead. She tells him how sorry she is for giving up on him. He tells her it’s alright and there’s nothing to apologize for. 

In order to save Mago City, the General decides to shut down the reactor. He, the Sanabi Project, started this mess; it’s time he puts an end to it. Mari begs him not to go, tells him she’ll try to fix him, that she can’t live without him. Why does she have to lose him again, and so soon?(41) He tells her that with every hello comes a goodbye. Getting to the end is not what matters; what does is that we spend the time we have with each other. 

The General gives Mari the Steel Tiger medal and salutes her, calling her “my commander.” In the original Korean he says “나위… 대장님 [daejangnim].” Daejang is a rank that literally translates to “grand commander” and corresponds to the rank of general; it’s the highest rank available to an officer in the South Korean army(42). The honorific -nim(43), like I said earlier, denotes respect for a higher-ranking individual. This is a callback to the scene at the beginning of the game when Mari says she wants to be the general when playing with her father(44); it’s a reminder of happier times, one last opportunity for the two to connect before the General is truly gone. 

The General leaves to shut down the reactor and Mari slumps against the wall. She pulls out the Steel Tiger medal, which glints in the light. 

I cried. 

It is now analysis time. 

Here we have two individuals who are forced to let go of the past. The General may be a robot but it is still very much him, something Mari only recognizes when he plays the harmonica for her; up until then she only sees her father as the smiling figure in her childhood, a father she first lost when her mother passed away and he became a shadow of his former self. The General only recognizes Mari as his child once he lets his daughter, and by extension his past, go by choosing the upstairs route. They have to let go of their lost loved ones in order to see them again—and yet the game refuses to give us the happy ending. The General has to tie loose ends; he can’t stay with Mari, no matter how much both of them want to. Now they have to let go of their present for the future. 

The General giving his daughter the Steel Tiger medal is a metaphorical passing of the torch. He is entrusting her with the task of carrying on his legacy, to remember him. Not only is it a reminder of Mari’s father, it’s a representation of their connection. It’s scratched and battered, because that connection has been tested, but it still holds firm. (Remember how the Steel Tiger’s eyes were scratched out in the downstairs ending? Then it represented how that connection was twisted and severed.)

A quick note on the game’s music, and this will be very quick because I know nothing about musical composition: I firmly believe the game wouldn’t have nearly as much emotional impact as it does if Invader 303 hadn’t done such a fantastic job on the game’s track. It’s that damn leitmotif, the one that represents the real Sanabi. It plays during the title screen, it’s in Mari’s theme song, it appears during emotional moments. Where it doesn’t appear is whenever something happens that the General thinks is due to Sanabi, such as right before his daughter dies in the beginning cutscene. Instead, we get “An Old Foe” (I like to refer to this song as “threat music”). No leitmotif to be heard here. It’s brilliant if you ask me. 

And here’s something I noticed: for the most part, whenever we hear the leitmotif it’s in B flat major. When we hear it played on the harmonica—in the subway, on the train, and at the end of the game—it’s in B major. This scale shift, known officially as modulation, serves to make the melody more cheerful-sounding and hopeful. 

I would also like to add that during this scene, the screen in the background cracks in a way that visually parallels the peach tree that is present during flashbacks. 

Some time later, we see Mari again, standing over a grave in the idyllic hills where she used to live. She leaves a flower there. 

The ground shakes and Mari looks up as a military helicopter flies overhead. She puts on a gauntlet of some kind, closes her eyes to collect herself, and runs off, shooting a grappling hook from her glove. She’s moved on from her father’s death and has chosen to follow in his footsteps, joining the military and even designing a grappling hook reminiscent of her father’s Chain Arm. It’s a great conclusion to her story. 

After that we see the title card and credits roll to Ending Means Starting Again. We see some scenes of events occurring after the events of the game, like Mago City being evacuated once the factory is deemed too dangerous and Mari joining the military and cleaning out her apartment. 

Overall, SANABI is a fantastic game and I was glad to talk about it with y’all. If you don’t have the game, I hope you’ll consider picking it up or watching a playthrough, because to me it’s a masterpiece. I’m really excited to see what the game’s studio Wonder Potion will do next. Speaking of which, where’s the DLCs they announced? People on the official Discord are already making Silksong jokes—[PROGRAM HAS BEEN SACRIFICED TO TEAM CHERRY TO SPEED SILKSONG DEVELOPMENT]

Footnotes

(1) “산나비” in the original Korean, lit. “mountain butterfly.” The game’s English release was originally gonna be titled “SANNABI: The Revenant,” matching the Korean title’s Revised Romanization, but the game publisher’s localization expert told them that “SANABI” was better. 

(2) Officially known as the Brigadier General. The General is never given a name in SANABI proper.(*)

(3) If you try to walk away from the house multiple times, the daughter will get fed up and just drag you to the house. This nets you an achievement, by the way, titled “There is nowhere to run.”

(4) ㅓ, written as “eo” in Revised Romanization, is designated with [ʌ] in the International Phonetic Alphabet and is known as the open-mid back unrounded vowel. It is pronounced similarly to [ɑ], the same way “o” in “got” is pronounced in Standard American English. It is not pronounced “ee-ah” or “ee-oh;” it is one vowel sound. If you know Koreans with “eo” in their name, they are probably endlessly annoyed by English speakers mispronouncing it. 

(5) Honestly, if PlayFrame hadn’t covered this game in a one-off (later expanded to a full playthrough, which is the same one I linked at the beginning of the post), I would not be familiar with it. It was Dan’s praise of SANABI that compelled me to check it out, and now here I am, writing an absurdly long, rambling essay about it. By the way, when I learned Dan decided to do a full playthrough of this game, I actually screamed. Like out loud. 

(6) Reread footnote 4. Yep. Go back and reread it. 

(7) Kang Seon was namedropped by Cheol and the boss earlier. The achievement you get after you defeat him confirms his name. 

(8) If you’ve seen this video about the prevalence of god-killing in JRPGs, Korean media’s all-consuming hatred for the rich applies a similar principle but minus the false god metaphor. Moony also made a two-parter about the Korean gacha drama and explains Korean culture and history far better than I ever could, so make sure to give those a watch. 

(9) There’s this whole system of rules about funerals and grieving in Korean culture that I don’t want to get into, which were an even bigger deal in the days of the Joseon dynasty to the point where how long a royal wore mourning clothes was a huge political deal. Really. I made this footnote just so I could bring this up. 

(10) You have no idea how tempted I am to call them murder drones. 

(11) *ahem* Intelligence acquisition, as Mari would insist. 

(12) “나일론,” romanized “Na Il-lon.” Elon Musk is known as “일론 머스크” in hangul. Cheeky. Apparently the reason why this game has a reference to the evil overlord of Twitter is because one of the game’s Tumblbug (basically Korean Kickstarter) backers thought Director Na’s original design wasn’t memorable enough. (Source if you want it. It’s pretty funny.)

(13) The General also tells her to cut the small talk, but Mari points out that’s two conditions. She’s right, you know. 

(14) There’s merch for Mach Hedgehog, the Legend of Greenhat Boy, Mega Uario, and Time Samurai. The last one’s a reference to Katana Zero, from which SANABI draws inspiration in the form of dialogue presentation and art style. 

(15) Watching people hypothesize about a story that you already know inside and out and seeing what they get right and what they get wrong is so immensely entertaining. 

(16) This includes a scene where Mari gets attacked by pigeons. Are the pigeons in Korea particularly nasty? (Yes, apparently.)

(17) This image also mentions a haetae (해태) in reference to Justice’s mask. A haetae is a mythical horned creature that represents… you guessed it… justice! 

(18) I’m pretty sure this is another early development thing like the missing houses from earlier. 

(19) Since the setting of SANABI is some kind of cyberpunk alternate history where the Great Joseon State is still a thing, we can safely assume the Royal Court refers to the government. As we will later see, the Royal Court is terrifying. 

(20) Unfortunately we won’t see him swinging around as a dinosaur. I’m still holding out hope for the DLC. 

(21) According to Mari, it was faster to replace the whole program than to stop the attack function. But that sure is convenient… 

(22) I timestamped the link to line up with what plays in the cutscene. 

(23) Well, at least that’s how I choose to interpret it. And I’m writing this dialogue in a semi-prose format because yes. 

(24) I don’t really mind Yahtzee or other people not liking this game, because everyone’s allowed to have their opinions and if they don’t like this game then fine, whatever, it’s not the end of the world. On the other hand, this is my comfort game and anyone who says it’s bad can duel me at high—[PROGRAM DELETED]

(25) Presumably like the nine familial exterminations, but worse. An unthinkably harsh punishment, even for the historical Joseon State, which is saying a lot. Joseon monarchs were up to all kinds of weird and horrific nonsense. 

(26) “아가씨,” romanized agassi, is a polite way to refer to a woman younger than the speaker. “Young lady” or “miss” would be a rough English equivalent. 

(27) This is followed by her grabbing Mari’s gun, breaking it, and giving Mari a slap upside the head. 

(28) Yes, this was made by the same person who did the LP I linked above.

(29) He strikes this pose a lot. Like to the point where my friend and Tumblr mutual Some started calling it his prissy head tilt. 

(30) While live reacting to the game, Some noticed how short the General was compared to the other military folks, so on a whim I decided to calculate the heights of some of the characters based on the height of an average Korean 8-year-old girl. The General comes out at 177 cm/5’10”, which is slightly taller than the average Korean man. Baek comes out at 225 cm, which is like, nearly 7’5”. That’s like basketball player height. Of course, that’s assuming the daughter is average for her height, and given her small stubby legs I have reason to assume she’s short for her age. We’ll never know unless we’re given a canon height for one of the characters, in which case I’ll be ready. 

(31) “의금부,” romanized Uigeumbu, was basically Joseon’s judiciary police and were responsible for arrests and interrogations of high crimes such as treason. They operated directly under the king’s control. 

(32) “Hotae Baek” and “Isun Song,” according to the original Korean, would be pronounced [ho:tʰe̞:pe̞k] and [i:sʌ̹n:soŋ] in IPA respectively—although keep in mind the surname comes first in Korean, so really it’s [pe̞k:ho:tʰe̞] and [soŋ:i:sʌ̹n].

(33) Lost in translation, if you will. Hehe, get it? Cuz this game was translated from Korean, and—[THE PROGRAM HAS BEEN DELETED FOR MAKING A LAME PUN.]

(34) The researchers always knew there was a gap in the project’s memory, of course. They had, however, assumed it was dissociative memory loss. A subsequent analysis revealed the pattern of memory loss was different from that of dissociative amnesia, as if the project’s memories had been purposefully removed. 

(35) The head researcher says that removing such an important concept could cause the personality to collapse, and making them forget the concept is nigh impossible. However, creating a sense of inconguity is fatal to the stability of the character (is this what happened to Justice on top of attempting direct control?), but the head researcher is confident that the project’s sheer hatred will cause him to ignore the incongruities. 

(36) Director Choi doesn’t like these exceptions, but the head researcher is like, “There’s, like, five exceptions in the filter out of all the human beings that exist. What are the odds of the project encountering these exceptions during operation?” Well… 

(37) The Republic of Korea’s national animal is a tiger. Tigers are everywhere in Korean art, too; feel free to browse this at your leisure if you’re interested. 

(38) Plus, you know, the fact that our robot here is super illegal, meaning that if anyone helps us it’ll constitute treason. He has to make this journey alone. 

(39) Far as I can tell, these are Mari’s thoughts and/or ventings. Feel free to interpret them however you want. I’m also just… incredibly tempted to try and mentally recreate whatever the devs’ vision for this game was near the beginning of development to try and figure out how they’d fit in these segments in the context of a metroidvania. But I won’t spend too much time on these hypotheticals, because at the end of the day, SANABI is the game we got. 

(40) There is also a giant sarcastic robot. 

(41) Arguably for the third time: first when her father changed after her mother’s death and second when her father died. 

(42) Not counting the five-star rank of 원수, or “General of the Army of the Republic of Korea,” because it has never been given. 

(43) I just realized that the honorific Szeth uses for Nightblood (“sword-nimi”) in The Stormlight Archive is probably based off the Korean -nim. This would make a lot of sense given Brandon Sanderson learned Korean when he was doing missionary work in the ROK. This comment has nothing to do with SANABI, I just wanted to say that. 

(44) I checked the Korean just to be sure, because the connection isn’t obvious in the English translation. Mari does use the term “대장님” in the intro cutscene. 

(*) This isn't technically true. If you're here because you followed up on the asterisk from footnote 2 and have not seen/played the game in full, I suggest you scroll back up, read the entire post, then come back here and place the following text through a ROT13 cypher: Va gur tnzr’f bevtvany Xberna, Znev vf xabja nf “금마리,” ebznavmrq nf Trhz Znev. Fvapr fur’f gur Trareny’f qnhtugre, jr pna nffhzr gung uvf fheanzr vf nyfb Trhz.

[scottoro-ramblings]

I've been working on a series of tarot card illustrations for the various fantasy races in Dungeon Meshi (I'll post all of eventually) which accompanies mechanics I made to play them in the fantastic indie TTRPG His Majesty the Worm. Each of the Kiths (basically races) in that game come with a few pages of lore about thier culture, so I've also basically interpolated the official lore into a something that works like that for each race, which I'm attaching to each image in this series

In cases like the kobolds where the official lore is pretty light a lot of it is wild speculation. I'm curious what people think, so if you read the section below and have any suggestions or notice any lore inconsistencies let me know!

Kobolds

Pushed to the margins and left to fight for scraps, most kobolds live harsh lives in the Western Continents wastelands. But better to live free than die a slave.

Across the Northern and Eastern Continents there are rumors of a kingdom of talking dogs, and in major ports of these far off places you might even see one of these dog men, tied up in a slaver’s cart or bound in service to a noble with a flair for the exotic. In their homelands of the western continent kobolds are far more common, but still massively outnumbered by tall-men.

Never holding an empire of their own, kobold history, as told in howling sagas under the harsh desert sky, is one of desperate defense and bitter resistance against encroaching human nations. While their chances would be better if they could stand united against their neighbors, kobold society is built around familial clans to which fierce loyalty is the norm, making any greater organization difficult. Especially given that many clans have gotten used to enriching themselves by selling captives from rival clans to slavers.

Origins of Kobolds

Most kobold clans worship some form of the Moonmother, a goddess of light who was said to have given souls to the loyal wolves who guarded her as she shepherded the stars across the sky. With these souls kobolds learned to sing and teach, and could stand equal to the other races.

Naturally this explanation is given little credence among human scholars. Instead they compare the demi-human kobolds to the demi-human monsters that roam dungeons, like fishmen and mermaids, supposing that they were also made by magic in the ancient past and merely escaped into wider world. This conveniently means they’d have no true homeland, further justifying removing them from any contested areas.

Desirable Captives

While the near constant border skirmishes ensured that kobolds were always featured in slave markets, the last several decades have seen increased demand. A well disciplined kobold can be cute and exotic addition to a nobles retinue, with their variety in coat color allowing one to selected for particular styles to to match a beloved family dog. Kobold’s difficulty speaking the Common Tongue is widely considered a benefit as it makes it more difficult for them to conspire with other slaves. Even kobolds who are too old or strong-willed to obey are desired as gladiators, as they always put on an impressive show, fighting tooth and nail once their weapons fail them.

Places which have long have long kept kobold slaves have even started breeding them to suit certain tasks, or meet particular fashions. Despite the health problems these breeding programs can cause, these “domesticated” kobold lineages are highly desirable in the markets. After all a decade less of service is a small price to pay for style and obedience.

Kobold Names

Kobold names tend to relatively short, with sounds that are easy for them to pronounce. Because most humans do not understand Kobold, kobolds in their societies are normally given names which are easier for them to remember and pronounce. While kobolds have names for their clans, they do not introduce themselves with clan names like tall-men do with surnames, showing clan affiliation primarily with clothing style and fragrances.

Personal Names

Adara, Anat, Gefen, Jawdat, Karam, Liron, Lishan, Moran, Ohpir, Ravid, Rotem, Safa, Shamira, Shams, Shav, Simcha,Tamar, Yodan

Assigned Names

Bandit, Bard, Bear, Brute, Chips, Daisy, Hunter, Jaws, Kuro, Leo, Luna, Maron, Maru, Pochi, Quiet, Shadow, Snow, Spot, Velvet

Clan Names

Aidi, Barak, Borz, Colli, Cuvac, Dachs, Dain, Hygen, Laika, Lobito, Malakli, Pila, Saluki, Shai, Shar, Shiba, Tang, Tazi, Tosa, Vizsla

Kobold Kin

Kobolds have largely similar strengths and struggles across their entire population, but do vary significantly in both build and coat. There is incredible variation among them, but they fall into one of the following five categories.

Brushwood

The northernmost group of kobolds on the continent, the Brushwood kobolds inhabit a dry forest where they live as semi-nomadic hunters. Brushwood kobolds have the largest variation in size, and a sizable dewlap which resembles a ruff around their neck. Some clans who live higher up into the mountains have thicker coats to protect them during frigid nights.

Frostridge

Despite living at a subtropical latitude frostridge kobolds dwell in high altitude mountains where heavy snowfall is common. They have sharp wolf-like features and thick coats that offer good insulation during storms. After a difficult past, this group of kobolds has a better relationship with their neighbors than most, and they often ferry messages and supplies from the central coast to inland settlements over the snowy mountains.

Sandsea

The largest group in terms of area controlled, though not population, the sandsea kobolds live in the vast interior desert. Tall for kobolds but whip thin, sandsea kobolds can race across dunes and drylands at impressive speed even without horses.

While historically composed of feuding nomadic clans, 30 years ago they were united by Sultana Shamira of clan Tazi. So far the kingdom of Ardtazi has been stable, thanks to royal warriors keeping a strong boot on clan politics, if not particularly tolerant. The kingdom has recently sent messengers to clans across the western continent offering protection and unity in exchange for tribute, an offer which is being seriously considered.

Midgemire

The southernmost kobold kin, and the only one to hold a coastal territory, midgemire kobolds live as fishermen, lagoon farmers and hunters in a vast swampland. The region is host to swarms of biting flies, but kobolds are able to weather them due to their innate disease resistance. Midgemire kobolds tend to be small, with thin coats, or for a few isolated clans no fur at all.

Due to plentiful fishing and the protection afforded by the insect swarms, this swamp is host to the only proper kobold city. Razrani is a deary place, built on wooden pylons driven into the mud and said to be host to every illness known to human-kind. But it’s also the only place to resupply along the midgemire coast, so business is good. The sailors rarely stay, but that’s how the locals like it.

Domesticated

Kobolds which are the product of generations of slave breeding vary dramatically in build and coat, but free kobolds say they all have an unsettling doughy look around their eyes. What portion of that is genetic and what portion is just the obedience conditioning is anyone’s guess.

Most of these domesticated kobolds pride themselves on their service, and look down on free kobolds. Free kobolds view them as tragic deranged beings, to the point that they kill any encountered during their border conflicts, viewing that as a mercy compared to continued servitude. “Feral” domesticated kobolds, who escaped on their own volition, are given more respect, but still generally considered mind-sick and treated more like pups within kobold society.

*Below are the His Majesty the Worm Game Mechanics, so if you are just here for the headcanon feel free to stop*

Kin Talent: Dogged Resistance

Adapted to deal with the multitude of poisonous beasts and venomous serpents that call the western badlands home, Kobolds are functionally immune to most natural poisons.

You cannot be poisoned or suffer additional wounds from venomous attacks. Additionally you get one free charge whenever you take the rest and recover camp action to cure a non-magical affliction.

Arete

Kobolds gain arete by performing the following deeds:

Freeing a captive

Defeating an extremely dangerous foe with teamwork

Having a song composed in your honor

When a kobold accomplishes all three arete triggers, they gain the following talent:

Kobold arete talent: Packbond

Kobolds fight best and fiercest when they have trustworthy allies by their side. In a challenge you can spend a swords challenge card as a minor action to have a guild mate attack, and they can spend their swords challenge cards to have you attack, provided your bond with each other is charged. When you do so you can burn the bond to give your guild-mate’s attack favor.

Kobold role-playing concepts

Kobolds inhabit a world which they know views them as lesser. Some kobolds internalize this.

Many humans think kobolds are cute because of their dog-like features.

Kobolds struggle to speak most human languages, and tend to speak in broken phases even if they can understand it well. This causes many to underestimate their intellect.

The kingdom of Ardtazi offers a chance for kobolds to stand on equal footing to humans, provided they submit to Shamira’s rule. If this kingdom will survive beyond it’s now elderly founder, or if her tyranny is preferable to that of non-kobolds, is a matter of debate.

Most kobolds do not choose to leave their homelands and clans, and fewer still would choose to join outsiders on their quests

Did you choose this life?

What do you think of the clan you left behind?

[gartenofbanny]

Hell as it is shown in Helluva Boss and Hazbin Hotel is really underwhelming because Vivziepop for some reason decides to make Hell very similar to Earth which in my opinion limits what can be shown and limits ideas as well. So I'm gonna discuss my problems with the rings that were shown thus far and how other pieces of animated media showcase Hell within their own series.

The Pride Ring

The Pride Ring is one of the main settings of Helluva Boss and will most likely be the only main setting of Hazbin Hotel. Right off the bat, The Pride Ring is literally just any big city, but with a red sky, more clubs and drug stores, and somewhat bizarre-looking buildings such as the Hazbin Hotel. The only creative things I can really think of when thinking about the Pride Ring are the cannibal colony and the fact that certain buildings look bizarre.

There are also signs that tell us what the buildings are or where it's at as if we couldn't have picked up the pieces on our own.

The Cannibal Colony is a location in the Pride Ring with its main residents being cannibals with the entire theme of the place being the early 1900s. It's interesting to me because Sinners were once human, but they don't want to move on from their times and want to stick with it for as long as they want. Plus they're all cannibals you don't see that every day.

Anyway, there are certain buildings shown in HH and HB, and the reason why I believe those are creative is that they don't look like any regular building you can find in the big city. Aside from those two creative stamps, the Pride Ring doesn't have anything else going for it.

Blitzo literally acknowledges this in Seeing Stars as when they went to LA, he literally says that it isn't any different from Hell. Why would I believe that Viv's version of Hell is unique when the character says that it's almost the same as Earth?

The Greed Ring

The Greed Ring is literally just the same as the Pride Ring except with more pollution for some reason and there's a green sky instead of a red one. That's all it is and it's very underwhelming because I really expected the Greed Ring to be very different, not just another Pride Ring but with a changed color scheme. At least there are more neighborhoods so that's something different from the Pride Ring, but nothing different compared to Earth

The Sloth Ring

The Sloth Ring similar to the Pride Ring and the Greed Ring is a big city with a different color scheme. Instead, it's more unique compared to the Greed and Pride Ring because it has floating rocks that hold buildings and it actually looks less chaotic and dangerous compared to the two previous Rings. But alas, that's the only thing that really makes this Ring unique.

The Wrath Ring

The Wrath Ring is the most unique and stand-out Ring of Hell in Helluva Boss as of making this blog. It has a Western cowboy theme to it which is something you don't really see on Earth at face value, the Wrath Ring has unique wildlife like Striker's horse or the hog that Striker killed. Yeah, they are similar to the wildlife that's on Earth, but they're actually really strong and look hellish.

There are volcanoes in the Wrath Ring which makes sense as to why the animals look a certain way because they were born there. Plus the volcanoes look very pretty as well.

I basically described the Rings that we were shown thus far because there's a running theme with most of them and that theme is, the Rings are a big city with a different color scheme. The only Ring that's actually different and creative is the Wrath Ring and it's telling a lot when one out of the four Rings of Hell is actually creative. There are two indie animation projects that I believe represent Hell way better than Vivziepop does. Those projects are "Welcome to Hell" by Erica Wester and "Satina" by Hannah Daigle

Welcome to Hell

While Hell itself isn't really shown in Welcome to Hell, the entire concept of it is that Hell is currently being renovated by the ruler Mephistopheles and that every sinner isn't suffering at least not now. So first off, Sinners actually suffer the consequences of their actions at least for a time they did but due to this lack of suffering and chaos, Mephistopheles is losing his shit.

To Mephistopheles, Hell is similar to a business but when it's out of control he tries to make the most of it. I don't know why Mephistopheles wants Sock to convince Jonathan to off himself, but I believe it will be answered in the next episode. All and all, Wester's version of Hell is actually good in my opinion because it's what we expect and I like the fact that Mephistopheles views Hell more like a business instead of a circus like Lucifer from HH. If you haven't checked out Welcome to Hell, I suggest you all do so and stick around for the second episode or installment. It's on Erica Wester's Youtube Channel.

Satina

Satina is an indie series created by Hannah Daigle and with her latest teaser of Satina Season 1 being released, I can safely say that Hannah's version of Hell looks 10X better than Viv's version. And it wasn't even a full showcase of Hell either. What was shown to us was very unexpected. Her version of Hell is something I never even predicted and that's what makes her version leagues better than Vivziepop's, it's unpredictable and creative. The four horsemen of the apocalypse are literally inside a bar that's most likely alive. Not to mention the humor in the teaser is also much better than Helluva Boss'. The designs of the demons are all unique and not just tall stick figure people in suits.

But anyway, long story short, Viv's version of Hell is just barely creative and is quite boring which is disappointing because you can do so much with Hell. We don't know what Hell looks like or if it even exists, you can come up with a lot of creative ideas for Hell and I'm pretty sure that people will like it because we don't know what it looks like. But making Hell just Earth 2.0 is disappointing because I and some other people want to see something different but what's done is done.

Thank you all for reading and I hope you all have a nice day! ❤️

[syrupspinner]

i completed the demo for metaware high school

shoutout to beloved mutual autistic nari for selling me on this, and sorry for forgetting to make this post until now lol. thisll be a long one so strap in!

so i think its safe to say that ddlc really shook up indie gaming from a cultural standpoint. first is that it helped people figure out that visual novels have value as a medium, inexplicably. theres been this weird holdover in western gaming culture at large from like, the 2010s xbox era, where visual novels dont count or something. if people engage with them at all, its dismissively, and people come away with the idea that everything is a sound novel and therefore boring. but like... not only are sound novels good, but ryukishi07's work is the only example of a vn not having an interactive component. dating sims are basically stat managers, detective games require attentive puzzle-solving, and a lot of vns outside that have interesting gameplay hooks like va11hallas drink mixing

all this is to say that i feel like ddlc was designed in a lab to be a 'hiding medicine in the balogna' situation, where people can say that it may be a visual novel, but its totally worth it for the funny viral scares. well, im glad it did, because now it feels like people are very very slightly more receptive to visual novels

but, more importantly, it brought more attention to the postmodern potential of video games as a medium. this isnt the first time that gaming has borrowed aspects of postmodern literature (characterized by interacting with itself and intentionally subverting audience expectation) such as stanley parable's famous use of a unreliable narrator within the context of a controllable story. but ddlc makes it feel ludonarrative. games like oneshot and imscared already paved the way for games that interact with the player as computer files and use this context to create puzzles and simulate a haunted computer, but ddlc was one of the first games to make a character aware of the fourth wall and interact with their negative feelings on the matter. traditionally, 4th wall breaks are treated as comedic, seen best with characters like gwenpool. but... wouldnt knowing that not only is everything in the world fake, but there is only a single person who actually matters? a player that has agency that you are designed to lack, a sole audience member that you are asked to perform for. thatd fuck anyone up.

hence, metaware high school. fun fact, because of how much i associate VNs with high school settings with japanese culture, i keep wanting to pronounce it metawarAY, but that ruins the pun of the portmanteau of meta and aware. i played fucking めたわれ bro.

so its pretty clear that this game is iterating on ddlc, only in the context of being in a demo. in addition, it takes more of a character studying approach to how individuals understand their world. nari gives into despair and helplessness knowing that she is helpless to fight her scripted actions. hope takes a very relaxed and lackadaisical "its just a demo, bro" outlook, izzy is obsessed with fulfilling her role but anxious because she doesnt know what the full game is. the idea that they dont know the full game is interesting, because it brings to mind religious undertones. christians, as children of god, are 'supposed' to live godly lives, and seek fulfillment from something that they can only trust is invisibly real. the difference is that the player is different from the creator. i didnt make izzy, but its still her purpose to demonstrate the game. what is the punishment for failure? what does failure even look like? is it worth the risk to find out?

going back to nari and hope, i find their dynamic really interesting. the game presents nari as a mysterious character to begin with, hardly talking except for the end of routes. personally, i think it makes sense for her to have such a connection to hope. i should capitalize her name so you dont get confused, huh. its funny because nari has a pretty hopeless disposition, resigned to her fate and disillusioned from her surroundings. i dont think she has completely dehumanized the other characters in the same way monika saw the other club members as meaningless code. my view is that nari is just as real as her friends, and any disregard of them is just from post-realization depression. the player isnt more real or more important, at least outside of the demo's machinations that nari is forced to work within, but instead a lovecraftian intruder from outside their schema of reality. Hope sees them as more of, like, some fella. weird glowy thing. i wonder if they like mochi. this isnt out of stupidity or callous disregard, we are shown scenes of Hope being emotionally considerate and using the structure of reality in creative ways (the "what word am i thinking of" gate), so we as the audience know that Hope is making the personal choice to acknowledge the world in a more positively nihilistic way. yeah, its a demo. thats what the world is. wanna get mochi? i like mochi

i think if Hope werent so roxy lalonde flavoured, Aspen would be my fave. nari reacts with despair, Hope reacts with a casual smile and a shrug, izzy reacts with concern and anxiety, then aspen reacts by thinking about how they can directly benefit from the situation. the second they find out the player knows about the future, they sequester you into a very long series of questions. like, im convinced if the the apocalypse was happening, aspen would cheer and go full mad max. i think this extends to why they want the game to be a dating sim so much, because that would be the genre that directly benefits them the most. like, if its a detective or mystery game, theyd have to solve a mystery or die or whatever, but if its a dating sim they get a cool ephemeral entity to date!

and then theres chris. shes something of a mascot for the game demo, so i expect her reaction to reality (read: her personal philosophy) to be pretty important. from her route, we learn that she loves visual novels, and from that she wants to make the player enjoy her visual novel (demo) too. i think this is interesting on its own: if you learned that the world was a game, wouldnt you want that game to be good? especially in the context of the player messing around and taking the piss, where she gets upset that youre not taking her effort seriously. if izzy is the stage director, chris is the lead actor, at least that's how she's appointed herself. actually, her contrast with izzy is interesting, because theyre both the only characters who feel dedicated to performing their roles appropriately. with izzy, it feels more negative, but chris feels more like a sincere and intrinsic dedication. she wants to make the world better, just because shes enjoyed so many other great worlds and wants to spread that feeling to others.

so yeah, this feels like a more exploratory expansion of ddlc's concept. but upon reflection, i dont think theres anyone who copes with their circumstances the same way monika does. monika goes through a sort of philosophical derealization where the player becomes the only thing thats real, but nobody in metaware feels the same level of disconnection in my opinion. nari gets the closest of course, because she has the most intimate awareness of the games code and script, but shes uniquely powerless and is forced to recognize that, in addition to the aforementioned realness of her friends. so she CANT be a yandere, she hates the player for essentially being spoiled by having the whole world live and die by their convenience. ddlc's player is the most important person (positive) while mwhs's player is the most important person (negative, in naris perspective). it reminds me of how everhood positions itself as a response to undertale, building on its interaction with games as an artistic medium by building on its themes without presenting itself as a correction. i also just love the fact that since the world being a demo is a known truth, no characters perspective is presented as definitive, which does a better job of inviting the player to engage with the world and come to your own conclusion on what reaction would be the most justified

oh, and the ending... its like every character is confronted with the ultimate culmination of the world, as a direct challenge to their personal outlook. Hope's playfulness dissolves into panic, because she never seriously contended with this and used her casual playfulness as a coping mechanism that doesnt work anymore. nari meanwhile is totally nonreactive, this has been a forgone conclusion for her for a long time, such an innate inevitability it may as well already have happened... which doesnt make the moment any more enjoyable, shes panicking as much as Hope. izzy's biggest concern is her friends, the ones shes been panicking at the whole game until that point, the ones shes been relaying her concerns to and desperate to force into line to try and Play Their Role as theyre supposed to, just in case. but shes alone anyway. aspen reflects on their efforts to extract meaning and benefit from their circumstances and lements never having real control. chris romanticizes their memories and just expresses thanks for everything, ever positive. its an interesting analysis of their culmination of all their philosophies. like, hope and nari were pretty opposed, but they feel pretty similar in the end. chris's optimism cant hold up in the face of oblivion and fades into the same mournfulness and regret as her friends. end the end, regardless of outlook, its hard to change the basic human reaction to inevitability and tragedy

metaware is immaculately crafted, its a wonderfully made exploration into human reactions to fundamentally inhuman circumstances. the characters all feel unique and reasonable, memorable yet realistic, but still with a thematically relevant twinge of scripted performance. anyone who doesnt like visual novels can kiss my ass, youre gonna play this and youre gonna like it.

so yeah, excited for the full game! i hope its a roguelike deckbuilder

[centrally-unplanned]

2024 Stuff I Liked Post - Live Action Film/TV

Combining TV and film since I didn't watch that much TV this year:

House of the Dragon: Look, I like A Song of Ice and Fire. I like period dramas. I like pretty costumes and people looking at maps. Dragons are cool! Okay really, I think HotD is well made? It is not perfect, Season 2 had some really baffling pacing missteps and their modern-day political concerns are very obvious. But these were frustrating in that "I am already a fan" kind of way, you go "aw come on!" at the screen but you are still watching! The acting is excellent, the set designs are very strong, and a lot of things like the action/fight choreography really fixed issues with the first show.

And at its core it is adapting a really solid story. This year I also reread the Dance section of Fire & Blood, and I know it is a controversial tale in the fandom? And I do see their complaints (Rhaenyra & Aegon need to be 20% more sympathetic), but overall I think the story is just tonally and thematically really strong, and some of the prose is authentically top notch. George RR Martin is a good writer, hot take!

Throw Away Your Books, Rally in the Streets: Yeah the above is too mainstream, let's get hipster baby. The first film of seminal new wave director Shūji Terayama, this 1971 is peak hippie countercultural revolution. It is avant garde sequences about modernity, materialism, and spiritual decay. Those are themes that, in a movie from today, are tiring. Like come on, I too have taken a sociology class, you can graduate from college and get a real job for a bit first. But watching a film from this era, it all hits differently. Japan in 1971 is actually, in many real ways, entering "the era of materialism & westernization" for the first time. It is new, not understood, contested. And from that, the idea that a movie could maybe change someone's view on all that actually isn't so crazy anymore. The revolutionary zeal to make a Message Film is actually kind of justified by the context of the time, you can tell they believe.

Additionally, as a Japanese 70's counterculture film it can serve as an interesting contrast because they are openly pulling from western radicalism, but applying it to a very different social context. Like in Japan, "traditional" culture can be very left-coded because westernization is stripping it away - something that can't work in many western contexts where "traditional" orgs are still running the show. Though it is amusing seeing the sheer quantity of people in Tokyo in bell-bottom jeans lol, the American Cultural Victory is absolute.

And on a more object-level, while the plot is mixed, the soundtrack absolutely wrecks shop as a rock album, the visual composition is exceptional, and the lead is very charismatic. This might actually be the best 70's New Wave film I have seen so far.

The Indie Tokusatsu Collection: Over this year Partner M has been fansubbing indie girl heroine tokusatsu films, after Hazel's video on the subject changed her life, and I have been helping out and ofc watching all the movies. I love weird niche Japanese stuff, obviously, and have a deep admiration for amateurs going all-in on their fetishes for an indie production. Still, individually none of these would be My Thing, even if they are very fun. But collectively, watching a dozen of these films has been extremely entertaining as a project of cultural immersion - it is great to get to know these crazy weirdos making these films and the baffling decisions they make! I now have a parasocial relationship with the tiny Eiyu Club crew from doing deep dives into their 90's website documenting how much they loved their gynoid girls, and I will remember that way more than any Oscar film plot point.

If I had to recommend one to watch, I am tied between Cyber Lady Suzuka, which is the pinnacle of "three guys and a hundred bucks making a movie", and Mighty Lady, which is simply inexplicable as a film.

Honorable Mentions: Repo! The Genetic Opera, IRL (In Real Life) aka The Bronze Documentary, Cutie Honey