#this is my first time writing such a long essay

[mostlysignssomeportents]

Kickstarting a new Martin Hench novel about the dawn of enshittification

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2025/01/07/weird-pcs/#a-mormon-bishop-an-orthodox-rabbi-and-a-catholic-priest-walk-into-a-personal-computing-revolution

Picks and Shovels is a new, standalone technothriller starring Marty Hench, my two-fisted, hard-fighting, tech-scam-busting forensic accountant. You can pre-order it on my latest Kickstarter, which features a brilliant audiobook read by @wilwheaton:

http://martinhench.com

This is the third Hench novel, following on from the nationally bestselling The Bezzle (2024) and Red Team Blues (2023). I wrote Red Team Blues with a funny conceit: what if I wrote the final volume of a beloved, long-running series, without writing the rest of the series? Turns out, the answer is: "Your editor will buy a whole bunch more books in the series!"

My solution to this happy conundrum? Write the Hench books out of chronological order. After all, Marty Hench is a financial hacker who's been in Silicon Valley since the days of the first PCs, so he's been there for all the weird scams tech bros have dreamed up since Jobs and Woz were laboring in their garage over the Apple I. He's the Zelig of high-tech fraud! Look hard at any computing-related scandal and you'll find Marty Hench in the picture, quietly and competently unraveling the scheme, dodging lawsuits and bullets with equal aplomb.

Which brings me to Picks and Shovels. In this volume, we travel back to Marty's first job, in the 1980s – the weird and heroic era of the PC. Marty ended up in the Bay Area after he flunked out of an MIT computer science degree (he was too busy programming computers to do his classwork), and earning his CPA at a community college.

Silicon Valley in the early eighties was wild: Reaganomics stalked the land, the AIDS crisis was in full swing, the Dead Kennedys played every weekend, and man were the PCs ever weird. This was before the industry crystalized into Mac vs PC, back when no one knew what they were supposed to look like, who was supposed to use them, and what they were for.

Marty's first job is working for one of the weirder companies: Fidelity Computing. They sound like a joke: a computer company run by a Mormon bishop, a Catholic priest and an orthodox rabbi. But the joke's on their customers, because Fidelity Computing is a scam: a pyramid sales cult that exploits religious affinities to sell junk PCs that are designed to lock customers in and squeeze them for every dime. A Fidelity printer only works with Fidelity printer paper (they've gimmicked the sprockets on the tractor-feed). A Fidelity floppy drive only accepts Fidelity floppies (every disk is sold with a single, scratched-out sector and the drives check for an error on that sector every time they run).

Marty figures out he's working for the bad guys when they ask him to destroy Computing Freedom, a scrappy rival startup founded by three women who've escaped from Fidelity Computing's cult: a queer orthodox woman who's been kicked out of her family; a radical nun who's thrown in with the Liberation Theology movement in opposing America's Dirty Wars; and a Mormon woman who's quit the church in disgust at its opposition to the Equal Rights Amendment. The women of Computing Freedom have a (ahem) holy mission: to free every Fidelity customer from the prison they were lured into.

Marty may be young and inexperienced, but he can spot a rebel alliance from a light year away and he knows what side he wants to be on. He joins the women in their mission, and we're deep into a computing war that quickly turns into a shooting war. Turns out the Reverend Sirs of Fidelity Computer aren't just scammers – they're mobbed up, and willing to turn to lethal violence to defend their racket.

This is a rollicking crime thriller, a science fiction novel about the dawn of the computing revolution. It's an archaeological expedition to uncover the fossil record of the first emergence of enshittification, a phenomenon that was born with the PC and its evil twin, the Reagan Revolution.

The book comes out on Feb 15 in hardcover and ebook from Macmillan (US/Canada) and Bloomsbury (UK), but neither publisher is doing the audiobook. That's my department.

Why? Well, I love audiobooks, and I especially love the audiobooks for this series, because they're read by the incredible Wil Wheaton, hands down my favorite audiobook narrator. But that's not why I retain my audiobook rights and produce my own audiobooks. I do that because Amazon's Audible service refuses to carry any of my audiobooks.

Here's how that works: Audible is a division of Amazon, and they've illegally obtained a monopoly over the audiobook market, controlling more than 90% of audiobook sales in many genres. That means that if your book isn't for sale on Audible, it might as well not exist.

But Amazon won't let you sell your books on Audible unless you let them wrap those books in "digital rights management," a kind of encryption that locks them to Audible's authorized players. Under Section 1201 of the Digital Millennium Copyright Act, it's a felony punishable with a 5-year sentence and a $500k fine to supply you with a tool to remove an audiobook from Audible and play it on a rival app. That applies even if the person who gives you the tool is the creator of the book!

You read that right: if I make an audiobook and then give you the tools to move it out of Amazon's walled garden, I could go to prison for five years! That's a stiffer sentence than you'd face if you were to just pirate the audiobook. It's a harsher penalty than you'd get for shoplifting the book on CD from a truck-stop. It's more draconian than the penalty for hijacking the truck that delivers the CDs!

Amazon knows that every time you buy an audiobook from Audible, you increase the cost you'll have to pay if you switch to a competitor. They use that fact to give readers a worse deal (last year they tried out ads in audiobooks!). But the people who really suffer under this arrangement are the writers, whom Amazon abuses with abandon, knowing they can't afford to leave the service because their readers are locked into it. That's why Amazon felt they could get away with stealing $100 million from indie audiobook creators (and yup, they got away with it):

https://www.audiblegate.com/about

Which is why none of my books can be sold with DRM. And that means that Audible won't carry any of them.

For more than a decade, I've been making my own audiobooks, in partnership with the wonderful studio Skyboat Media and their brilliant director, Gabrielle de Cuir:

https://skyboatmedia.com/

I pay fantastic narrators a fair wage for their work, then I pay John Taylor Williams, the engineer who masters my podcasts, to edit the books and compose bed music for the intro and outro. Then I sell the books at every store in the world – except Audible and Apple, who both have mandatory DRM. Because fuck DRM.

Paying everyone a fair wage is expensive. It's worth it: the books are great. But even though my books are sold at many stores online, being frozen out of Audible means that the sales barely register.

That's why I do these Kickstarter campaigns, to pre-sell thousands of audiobooks in advance of the release. I've done six of these now, and each one was a huge success, inspiring others to strike out on their own, sometimes with spectacular results:

https://www.usatoday.com/story/entertainment/books/2022/04/01/brandon-sanderson-kickstarter-41-million-new-books/7243531001/

Today, I've launched the Kickstarter for Picks and Shovels. I'm selling the audiobook and ebook in DRM-form, without any "terms of service" or "license agreement." That means they're just like a print book: you buy them, you own them. You can read them on any equipment you choose to. You can sell them, give them away, or lend them to friends. Rather than making you submit to 20,000 words of insulting legalese, all I ask of you is that you don't violate copyright law. I trust you!

Speaking of print books: I'm also pre-selling the hardcover of Picks and Shovels and the paperbacks of The Bezzle and Red Team Blues, the other two Marty Hench books. I'll even sign and personalize them for you!

http://martinhench.com

I'm also offering five chances to commission your own Marty Hench story – pick your favorite high-tech finance scam from the past 40 years of tech history, and I'll have Marty bust it in a custom short story. Once the story is published, I'll make sure you get credit. Check out these two cool Little Brother stories my previous Kickstarter backers commissioned:

Spill

https://reactormag.com/spill-cory-doctorow/

Vigilant

https://reactormag.com/vigilant-cory-doctorow/

I'm heading out on tour this winter and spring with the book. I'll be in LA, San Francisco, San Diego, Burbank, Bloomington, Chicago, Richmond VA, Toronto, NYC, Boston, Austin, DC, Baltimore, Seattle, and other dates still added. I've got an incredible roster of conversation partners lined up, too: John Hodgman, Charlie Jane Anders, Dan Savage, Ken Liu, Peter Sagal, Wil Wheaton, and others.

I hope you'll check out this book, and come out to see me on tour and say hi. Before I go, I want to leave you with some words of advance praise for Picks and Shovels:

I hugely enjoyed Picks and Shovels. Cory Doctorow’s reconstruction of the age is note perfect: the detail, the atmosphere, ethos, flavour and smell of the age is perfectly conveyed. I love Marty and Art and all the main characters. The hope and the thrill that marks the opening section. The superb way he tells the story of the rise of Silicon Valley (to use the lazy metonym), inserting the stories of Shockley, IBM vs US Government, the rise of MS – all without turning journalistic or preachy.

The seeds of enshittification are all there… even in the sunlight of that time the shadows are lengthening. AIDS of course, and the coming scum tide of VCs. In Orwellian terms, the pigs are already rising up on two feet and starting to wear trousers. All that hope, all those ideals…

I love too the thesis that San Francisco always has failed and always will fail her suitors.

Despite cultural entropy, enshittification, corruption, greed and all the betrayals there’s a core of hope and honour in the story too.

-Stephen Fry

Cory Doctorow writes as few authors do, with tech world savvy and real world moral clarity. A true storyteller for our times.

-John Scalzi

A crackling, page-turning tumble into an unexpected underworld of queer coders, Mission burritos, and hacker nuns. You will fall in love with the righteous underdogs of Computing Freedom—and feel right at home in the holy place Doctorow has built for them far from Silicon Valley’s grabby, greedy hands."

-Claire Evans, editor of Motherboard Future, author of Broad Band: The Untold Story of the Women Who Made the Internet.

"Wonderful…evokes the hacker spirit of the early personal computer era—and shows how the battle for software freedom is eternal."

-Steven Levy, author of Hackers: Heroes of the Computer Revolution and Facebook: The Inside Story.

What could be better than a Martin Hench thriller set in 1980s San Francisco that mixes punk rock romance with Lotus spreadsheets, dot matrix printers and religious orders? You'll eat this up – I sure did.

-Tim Wu, Special Assistant to the President for Technology and Competition Policy, author of The Master Switch: The Rise and Fall of Information Empires

Captures the look and feel of the PC era. Cory Doctorow draws a portrait of a Silicon Valley and San Francisco before the tech bros showed up — a startup world driven as much by open source ideals as venture capital gold.

-John Markoff, Pulitzer-winning tech columnist for the New York Times and author of What the Doormouse Said: How the Sixties Counterculture Shaped the Personal Computer Industry

You won't put this book down – it's too much fun. I was there when it all began. Doctorow's characters and their story are real.

-Dan'l Lewin, CEO and President of the Computer History Museum

[kurinhimenezu]

90 Day Baby Daddy - Adam - HH

Prologue

Chapter 1

Chapter 2

Author's Note: Plot lost itself a little but it'll be explained in the next chapters! I have no idea how long this will be so hopefully we'll find out together

CW: Adam cursing in front of babies, mentions of stalking (but not really emphasized)

Enjoy!

Arrem looks worriedly over at her friend typing furiously at her laptop.

“Hey man, I’m just saying…maybe get a student loan? Instead of like selling feet pics to save up for some semesters for college seems a little much, right?”

“I really don’t want to be in even more debt to be honest with you and I am NOT selling feet pics! I was just writing someone’s essay for a couple of bucks” Y/n made a face before picking up her coffee. “At least we can mooch off of some wifi around here”

Arrem nodded and toasted her cup before taking a sip. Her eyes occasionally flitting back and forth to her book and to Y/n.

“Okay what is up, you’ve been staring at me looking like you wanna explode or something” Y/n took another sip of her coffee and placed it down on the coaster.

“I still can’t believe that…” Arrem leaned closer, whispering, “I still can’t believe Adam is the guy that knocked you up…why didn’t you tell us?? We could’ve sued the pants off of the guy for unpaid child support”

Y/n snorted, shaking her head. Arrem was always the practical one, even when her suggestions tend to be a little psychotic and the only one who knows her kid’s actual father.

She looked at her friend, dressed simply with her boots and long sleeves. She’s sometimes jealous that Arrem and the rest of the guys managed to finish their studies with relatively no problem.

Pen and Arrem took the same degree and are studying for their work licenses, working in the diner for the mean time to have some extra cash in the bank.

Fish finished his teaching degree a year before them, gave up teaching after seeing how fucking dumb the students of today are, thus crushing his hope for the younger generation and sunk his savings in a diner that’s surprisingly doing well to support him and his mom.

Which was sweet.

It’s a little difficult to not feel inadequate when you’re stuck someplace you can’t seem to get out of. She did try to finish college, hell she only had a couple of classes left to but being heavily pregnant and having to walk everywhere just to get to class just got too difficult. The judgemental stares didn't help either.

She had to drop out and take care of her baby.

It’s not all bad, she’s grateful for the kid and couldn’t imagine not having her after seeing her after birth. She just wishes she got pregnant on her own terms. Hell after graduating would've been nice.

Y/n frowned, she still couldn’t remember how she got into Adam’s bed in the first place and it’s really bothering her when she has some time for herself to think.

“I’m serious!”

Y/n snapped out of her thoughts, “Hm?”

Arrem sighs, taking a bite of her hashbrown viciously. Girl loves her potatoes. “I mean if it weren’t for him—”

“I know but it’s no use dwelling in the past...besides you love the little bean, right?” Y/N grinned.

Her friend crossed her arms and looked away, “Yeah, I do…she’s got spunk but what’ll you say when she grows up? Toddlers are smart sometimes you know”

“I’ll get to that bridge when I get there right now, I’m enjoying the baby ride”

Arrem uncrossed her arms and turns to look at her, “I’m still sorry…I feel partly responsible for what happened, I shouldn’t have given you all that alcohol and I should’ve kept an eye on you”

Y/n looks at Arrem in surprise. Arrem looks so mad at herself. Has she been holding on to this guilt the whole time?

“Hey, don’t feel responsible, I’m pretty sure I went and wandered off on my own anyway, it just so happens to be Adam I got with”

Her knowing Adam being the father of her child was no baseless accusation.

She knew it was Adam that she got with because she remembered waking up sore but utterly satisfied and his huge autograph written on her stomach along with his “phone number” …in permanent ink.

It took her 3 days to completely scrub all the ink off, (After having Arrem take a picture of course, the picture is tucked away in her little journal along with the rest of the merch she has of Adam’s band. She hates how obsessed she was before the incident)

“Shit man, don’t look now” Arrem mumbled against the lid of her coffee cup.

“Huh?” Y/n discreetly looks at the door, the bell jingling indicating a new customer.

Murmurs start to echo in the small coffee shop and not the usual kind of white noise either. It’s more…excited, quick, hushed whispers and the snapping of phone cameras.

“Yo…hook me up with a venti flat white, would ya? Ya’ll got supersize?”

Y/n internally groaned at hearing that annoying accent. That fucking drawl she thought was charming at one point. Adam has this way of speaking that you can’t really tell where he’s from, like a mix of speech patterns you can’t pinpoint. Y/n just chalked it up to travelling around so much.

The barista flinched at the order before nervously looking at the large man. With that boyish attitude on interviews, Adam still looks intimidating with his studs and spikes with golden eyes lined with what looks like dark smudged charcoal.

Okay she needs to stop.

“Uh sir...that’s more than enough espresso to give a normal man heart palpitations…are you sure?”

Adam looks at the barista like he’s stupid. “Then serve it to me in those little cups then?”

The barista opened his mouth before shutting it closed, nodding his head in defeat, “Yes sir that’ll be $149.99 please”

Y/n choked on her iced coffee at hearing the price, gaping as Adam easily pulled out a black card and swiping it at the machine.  “Jesus man, I didn’t even know this place have those”

Arrem shrugged, tapping on her phone, “He says he’s a struggling artist but you never know with types like him”

“Helloooo ladies”

The two women let out annoyed sighs, one rolling her eyes before looking up at Adam.

“Adam” Arrem nodded, lifting her cup at him, “Big fan”

Adam gave her a finger gun before looking over at Y/n expectantly.

Y/n looks at Adam with a raised brow, judging him from head to toe. “Not so big fan” She smiled at him almost sickly sweet.

Adam huffs, taking a sip of his heart stopping coffee. “Right sooo…” He looks at her awkwardly trying to keep his cool.

It doesn’t help that a bunch of nosy fucks are filming him right now. His PR manager is so gonna fry his ass later.

“Oh! Right…here!” he shoved his hand down his tight leather pants, pulling out a cloth headband, pink and wrinkled with what looks like a fake rhinestone in the middle of it. “Your brat dropped this!” Adam grinned, handing it over to Y/n. He looked almost proud of himself for keeping it safe till now.

Y/n blinked at Adam before looking down at the thing suspiciously, it looked too…expensive to be her baby’s. Before she could protest that it’s impossible to be Addie’s, Arrem nudged her foot with hers.

“Dude...”

Y/n looked at her friend before finally noticing the café’s patrons trying to discreetly tune in to their conversation.

She bit her lip as Adam’s grin widened almost wickedly at seeing her resolve crumble and taking the hairband from his hand.

“Right…thank you SO much Adam, my baby’s been missing this…thing for a few days” Y/n turned the clip around inspecting it. It was shockingly girly, looking at it now she does remember panic buying a ton of baby girl stuff before Addie was born. Maybe she forgot about this particular hairband?

All in all, it doesn’t look too suspicious. Just a normal run of the mill hair clip.

Once Y/n took the ribbon and tied it to her bag, Adam smirked before turning away to sit at the corner booth at the back, the rest of his bandmates coming into the shop to sit at his table.

“Never noticed Addie wears ribbons like this” Arrem nodded at the hairband.

Y/n doesn’t want to make a scene and shrugged, not knowing what to say.

This was the first time she ever saw this hair clip too.

Y/n couldn’t seem to escape Adam lately. From the sleepy part of the city she knew and love turned into the #1 spot for tours, making her daily life seem a little more…ad conscious. Billboards of Adam’s face promoting his new album or a new music video that they’re going to shoot somewhere nearby or other bands opening for Adam playing non stop in TVs in the grocery stores.

Adam had snuck into her life again, remembering her name this time and even giving out his real number. Which she hasn't tried to call.

It wasn’t so bad, the vibes suddenly started becoming energetic with tourists coming in with all the popup events coming in.

Adam would travel around and would always come back after some months to “catch a break” here before going off again.

Maybe she’s feeling a little too full of herself into thinking that a famous rockstar is following her around but it was a little strange.

Sometimes she feels like someone is watching but when she looks around, no one is there. Or it's some rando not even paying attention to her.

But then who else would leave new baby stuff at her doorstep? Definitely not some good Samaritan. Her friends were pretty stumped too when she called to thank them for the gifts.

It was too much to think about and just let it happen.

“Damn how expensive are the frozen vegetables now…?” She mumbled, placing the generic store brand packet in the cart. The grocery was thankfully quiet, the early morning giving her some semblance of peace with the old folks doing their shopping and the sleepy night shifters minding their own business.

Addie gurgled, babbling and taking a bite of her teething ring as she tries to reach for a rubber duck hanging from the shelf.

A large hand plucked the toy from the shelf and handed it to the baby, making Addie squeal happily.

“I’ve never heard you laugh at vegetables before baby…that’s new…” Y/n’s voice trailed off seeing Adam, smiling at her kid and making a rubber duck squeak in his fist.

“Are you serious??”

Adam’s eyes flickered up at her and grinned, “Hey angeltits, looking gorgeous as usual”

“Man your crush on me is really obvious…your groupies must be so sick of seeing me with you”

Adam recoiled from her, handing the duck over to Addie. “Bitch you’re lucky to be in my presence”

Y/n snorts, putting a can of sauce into her basket, “And yet you’re somehow around us whenever you’re ‘on break’ “

Adam made a face and kept quiet, he doesn’t have a good comeback he has to admit so he turned to Addie, “Mommy’s being a cunt huh princesss? Yes she iissss”

Y/n’s eyebrow twitched and pushed Adam’s face away from her laughing kid, “Can you not curse around my baby??”

He only rolled his eyes before looking down at the sorry excuse of groceries in the cart. Something in his gut recoiled.

           | What do you mean?? She can’t be mine!

“Your choices suck ass Y/n” Adam frowned, taking the cart and started shoving actual food into the cart.

| Well...why wouldn’t she tell me then?

“H-hey! It’s not my fault this place has limited stuff-Adam!” Y/n cringed as he grabbed stuff left and right not even checking for the price or sales or even if it was qualified for a coupon before dropping them into the cart.

He even grabbed some of those yogurt bites for Addie.

“Adam” Y/n grabbed his arm, before he could grab a bag of fruit. “Listen…I appreciate the stuff and the concert tickets—”

“Which you didn’t go to and how did you even know it was me sending you those packages?” He pointed out.

She rolled her eyes, “Maybe next time, change your name on the Amazon packages before sending it to my house” Y/n sighs, rubbing her face tiredly. Adam, I can’t afford this stuff…if you think I can you’re sorely mistaken”

Raising a brow, Adam placed the bag of fruit in to the filled cart and started wheeling it to the check out, “And what makes you think I’m letting you pay?”

The cashier started to swipe the stuff in one by one, the prices going up and up.

“Adam—”

“We need to talk Y/n”

Y/n frowned, looking at the man staring nonchalantly at the numbers on the screen before tapping his card easily to pay for everything.

There wasn’t a hint of joking around on his face which was unusual for the normally unserious musician.

Adam took Addie from the cart and carried her, escorting Y/n to the parking lot and letting the cart jockeys help with loading the groceries into the back of his truck.

Y/n wet her lips, already having an idea on what the talk would be with the way Adam was looking at Addie and the way he’s so familiar with holding her…

Shit.

I may have rushed it a little lol

Tags: @sniigura

[thedissonantverses]

The Solas Problem:

A Lesson in Narrative Tension in DATV

This isn’t a Solas critical write-up, nor is it positive. It’s only an essay on how narrative tension works. We take Solas as he is here. Media Literacy 101 is back in session under the cut.

TL;DR: Giving Solas more screen time would have stripped Veilguard of one of its best parts. Solas.

“No real god need prove himself. Anyone who tries is mad or lying.”

We actually have two major problems with Solas right off the bat. The first is power. The power creep on this man is absurd. He’s been around for thousands of years and his magic has affected the fabric of reality in Thedas. He can kill people in their dreams. He can turn people to stone with his mind. The blight. Just…the blight. Altering the course of history is what he does best.

When we first meet him in Inquisition he is a considerable threat but not anything special for Thedas. In his reveal in Tresspasser he sent chills down my spine. In Veilguard he’s had years to accumulate enough power to tear down the Veil. If it had been a real fight with Solas in the beginning Rook would have been obliterated.

Even if Solas was an ally, it wouldn’t work. This is very similar to why Superman had kryptonite because he’s already overpowered without it. If Solas is around the whole game pulling Rook out of every fight, Veilguard would suck. It’d be so boring. There is no good way to deal with his raw power without trapping, severely injuring, or putting him to sleep or on a side quest the whole game. Put a pin in this, we’ll get back to it.

The second large writing problem with Solas is he is ruthless. This man clearly follows his own rules and he’s survived a long time against enemies many more times more powerful than the Veilguard. It’s why Rook and the team seem so “nice” in comparison. None of them would have stabbed their friends for the greater good. None of them could or ever would do what he and Mythal did to the Titans. Whatever his motivations are at any given moment are largely driven by his own sense of right or wrong. He does have one. It’s just not the same as us mortals’. Run afoul of his moral code and you’re dead.

I’m going to go on a bit of an aside but I promise it’s related. The first Alien movie is a good horror move, in part to a technique movies use to great effect. Tease your audience. The reason they don’t show the alien too much is because it would look fucking goofy. No matter how good your effects were back then, a human in a suit moves like a human in a suit. What that movie does really well in its horror is show glimpses of the man in the mask but not the whole thing at once. Let the audience’s minds fill in the gaps.

That’s what Veilguard is doing with Solas throughout the game. We know Solas is powerful. But the first time we see him it’s him failing. Then he’s trapped in time and space. We get echoes of what he can do. We don’t fully realize how powerful until you see him flinging blight back in Minrathous with the same amount of effort a regular character would use to shoot their bow. We get glimpses of his deeper motivations and foibles, but we don’t feel what’s it’s truly like to be in his way until Tearstone Island. We don’t learn about Varric until the wolf has already cornered us.

So why did they trap him?

Trapping Solas in a prison of his own design, where the key is regret, is excellent character work. We know Solas doesn’t see himself as the villain. We know he’s the type of man who thinks of himself as not just Elgar’nan’s equal, but his better. Which, maybe he is, but he is still a self-righteous man with rivers of blood on his hands who was ready to destroy the world Thedas has become in order to restore a past that can never be again. Solas is static. Unyielding. Frozen by regret. He won’t change to suit the world, he will change the world to suit him.

The examples used of how Solas could be dealt with work, but to varying degrees depending on how well they’re executed. Why matters as much as how. What the writers did was look at Solas’ prior character work and pick the best one to suit him. The way they executed this solves multiple problems at once, using the character’s own fatal flaw against him.

It’s a simple solution, really.

[frenchkanna1808]

Why chapter 3 was a enormous let down and the possible negative impact it might have on the rest of the game

I remember after finishing chapter three one how exicted I was, how deeply impressed I was with the banquet and the qtaro development. And I mean I wasn't the only one, again and again I had seen so much praise about chapter three and how awesome it was. How great midori was as a villain (my like idk how many words analysis about him is very much explicit of that), How amazing qtaro development was, and mainly how great the banquet was, and I had seen the claim around that 3-1 was as great or even better than 2-2. And so I had decided after the hype fell down a little to play yttd again with friends, and that when I realized, god , wait, chapter three is like, extremely mid. I played the entire chapter 1a and it only got to the heights of 1b. I at first couldn’t tell what was wrong with the game, why did it feel so disappointing? And after a while I have finally looked back at the chapter, and yes this chapter is not only extremely lackluster but also a very bad prediction for the future of yttd if 3-2 is written the same. So here in this long french analysis I will discuss the main problem of chapter three the absolute shit characterization of almost all the characters. But also the destruction of emotion route and the crazy pacing

Hi like always, I’m frenchgremlim, I’m the french kanna fan I write stupid essays on yttd from time to time, this one will be compared to some of my others quite negative. But I will try as hard as possible to be an objective critic. This isnt meant to attack any fan of any character no any fan of yttd 3-2, I just want to discuss a possible problem in yttd writing that personally scares me for the future, this topic was one I brought up a lot in many post, if you have seen any of them then well you will already know some of my grievances with chapter 3. So with all my love thank you for reading this, lets start!

THE GOOD STUFF

Chapter Three 1 definitely has many great points. First off, the plot progression is pretty great, we get ton of infos on asunaro, on ways to escape and clues about the hades incident. Midori was a blast and bullying him became my favorite pastime. The dummies were an amazing concept (remember the word concept it will be important for the rest). Despite me disliking ranmaru deepy his development was interresting. THE QTARO DEVELOPMENT WAS CRAZY GOOD, for the first time I got to be justified for being a qtaro fan since chapter 2. Keiji had ton of development in this chapter??? that is very rare considering how much of a stable character he is troughout the game, his relationship with sara is really highlighted and I think thats great. Gin stays the most consistent character in yttd and despite normally being something I dislike in a game I think it makes sense considering gin is pretty much sara anchor in reality in both routes. The obstructors were an amazing idea and I think, adding new mechanics like that truly freshen up the game. Also shin ai is litteraly one of the best idea ever and maple too. And of course the banquet was a thrilling nerve wrecking experience with so many twist and turns that truly got your blood pumping……. Thats my praise for chapter three, the thing that doesn’t make it outright bad but correct. See how I mentioned a few characters by name, but not all, you can pretty much count any of the other either barely present or useless to the narrative. Which will lead me to my first point, the absolute character waste that genuinely every single yttd character going from the least worst to the worst (if you know me you know who will be last).

AN ENSEMBLE CAST IS AN ENSEMBLE NOT SARA AND HER MINIONS NANKIDAI

MAI AND KURUMADA

okay so I will start with them because funny enough new characters have better characterization, than actual character we knew since chapter 1. If I had a word to describe both ami and kurumada it would be good but lacking. Let’s start with mai, I think mai concept of her starting has a sort of traitor and then becoming a true ally is very good, same for kurumada startinga s a heartless asshole only caring about himself to him literally on the ground crying that keiji doesn’t cause the doom of the other dummies. Overall Mai and Kurumada have the strongest character out of all the dumies and are truly multi layered characters. Mai is depicted as a fake idol like girl who hides herself behing the pop like smilling persona (inverse of shin) to hide the fact that she is terrified but can also be a cunning manipulative person too. She truly wants the best for others but is terrified that she might die and would do anything to survive. Kurumada is a brute, he acts like a bully toward the others, act heartless and values himself over others, he has a sort of superiority complex and rejects affection. But trough the power of the bucket, kurumada starts to warm up, and he starts truly caring about the others. He starts devaluing his life after getting destroyed by maple. But in the end he was the only one of the surviving dummies wishing not to be brought back but avenged. Both have interesting dynamic with their pairs and overall importance on the narrative, something that can’t be said about all dummies. Why lacking then. I think kurumada and mai still suffer from what I will call the dummies problem, they feel like there is so much like missed potential its crazy. Seriously we had like one scene where kurumada learns to warm up to kanna, thats it, it feels like we had the basics but it was very rushed. Which is a shame considering THIS IS THE THING THAT MAKES KURUMADA CHANGE AS A PERSON. Mai has less of this problem I think, but still she has no relationship with like anyone in the group except qtaro ( I still think in logic route we should have had the obvious parralele between her actions and like keiji/shin actions it feels like wasted potential) But again this is a flaw that is ommitable since reminder the characters are well written despite being rushed. What isnt forgivable is that kurumada has no relationship at all with shin in logic route, its clear that nankidai envisioned emotion route kurumada before logic route kurumada. Overall I think the pairing system was terribly done for some characters, which is apart of the overrall dummies syndrome.

But lets take a look at the other dummies where my praise will quickly end.

ANZU AND HAYASAKA:

I am deeply sorry for anyone who is a fan of those characters, but I need to be objective, anzu and hayasaka are the most nonexistent characters in yttd. I complain about the lack of kanna content, but the absolute uselessness of those two is crazy disappointing. Remember how I described mai and kurumada, full rich descriptions, what is anzu character. She is a dumb clown girl, thats it there is nothing more. And the problem isnt that she is a simple character on paper, because for example mishima is quite a simple character, its how nankidai decided to utilize them. Lets start with anzu because I think she shows off well the problem, what does anzu do during the narrative, when is she useful, not even like talking about like puzzles or stuff like that kanna also doesn’t help that much, I mean overrall, what is the goal of this character. A character can be a bit flater personaility wise but he has to HAVE A REASON TO EXIST EXCEPT FILLING IN THE BLANKS.

Why was she paired with the yabusames, because reminder all the dummies were paired with a human for a reason, sara with ranmaru because of joe, keiji and hinako because they are edgy emo dyed hair dodgy person, kurumada with greenbling because he has one of the highest percentages while they have some of the lowest, hayasaka because he is similar to mishima with gin. Anzu was paired up with the yabusame, because she had to be paired up with someone, she has NO relationship with them, isnt a contrast isnt anything. My problem with anzu is that she is a a boring character because they did NOTHING WITH HER, she feels like an C rated anime girl in the fucking cast of death note. And no I’m not saying a nice person is boring not at all kanna is my favourite character of fiction, what I’m saying Is that creating just a nice girl is a problem. If we go to hayasaka its the same, which is even worse because hayasaka IS TIED TO THE NARRATIVE. I would say haysaka is more plot interresting but his personality is so boring that it doesn’t help at all. He is just clone non chad mishima. They can die and it will genuinely almost affect nothing at all(which is also a problem the death problem). You get surprised when they actually talk because you had forgotten they existed. Thats how I will define the dummies problem, it feels like the characters were added but had very limited impact in the end, because while it makes sense for asunaro it doesn’t make sense for the cast, why add characters if they have no meaning, thats just bad writing.And why does that piss me off, because you could have done so much more. Remember the mishima comparaison? Mishima is the most good guy ever made but how does he shine, by his interractions, he is a light of joy and good and shines from how kind he is towards others. He’s a bit silly but his unwaring kindness and undertsanding is what makes him a compelling character. Especially I contrast with brooding characters in the cast. ANZU COULD HAVE BEEN THAT. I think especially in logic route, anzu isnt the brightest light bulb, but she can shine in her unwaring compassion, her passion is making others laugh as a clown. While she isnt the best and can sound awkard she tries her best for others, because thats whats right to do, despite how much she is scared. After keiji gets coffined, anzu goes to see keiji in the coffin and tries to cheer him up with the worst joke ever and it makes him truly laughs from how bad it is. Reko see nao painting and gets depressed about it,feeling like she was able to save nobody whether her brother or lover, anzu decides to show her some epic clown skills and absolutely fails, reko laughs finding the kiddo endearing. After alice discovers that midori had hanged out with reko, he wants to destroy him and get filled with rage but anzu tells him to do the breathing exercises she used to do before any performance. Anzu could be used as this idea of childlike kindness a little light in the dark of the group especially in logic route. She can still be a fail girl clown make her bicker with kurumada more, make her be so impressed by how calm mai is, make her despize ranmaru in logic route, make her a dumb kid with tehir cool aunt/uncle with the yabusames. MAKE HER EXIST. SAME FOR HAYASAKA, hayasaka is supposed to be a straight man type character make him even more of a loser, make him silently judge the crazy ass people he is with, do his development litteraly not Five minutes before his death. A character being simple isnt a problem, what is a problem is not using them to their fullest, and for me in the state that they are in currently anzu and hayasaka are bad characters in term of the narrative.

SHIN

Okay so shin isnt a character in chapter three, he’s just there, I’m putting that low because he is a main character. The problem with shin being a bot, is that we just left one of the craziest chapters for him to do nothing, I understand him being stunned by midori and stuff. But I still think this is quite a letdown, especially for the obvious parralels between him and maple almost never being utilized. You can tell nankidai didn’t have the time or want to do much with the guy, which is bonkers considering THIS IS THE CHAPTER WE MEET HIS ABUSER. Then why isnt shin lower? Because shin is the type of character to have development throughout the story, who has a continuous storyline etc, which means that even though he didn’t get anything special this chapter next chapter he will get it. Its not a case of actual waste of character ,its more so, putting the character in the drawer for now. I am not scared for shin writing because he will always get something and always had something. Which makes is non importance in chapter 3-1 not that bad

KANNA

OKAY SO I WILL TRY TO NOT BE BIASED. Kanna characterization disappointing me In 3-1. As the biggest kanna fan, I think nankidai doesn’t care that much about her character as an actual protagonist. This one will be a bit longer but to explain why it was bad I need to do some sidenotes.

Sara is the protagonist of yttd, and keiji and gin are deutarogonist (idk how its written forgive me I’m french, please tell me if its badly written). Sara throughout the story goes trough many changes and developments, while characters like gin and keiji stay pretty much the same the whole story before 3-1. Sara main development is her living with the grief of losing joe and her importance in the group. While keiji is this morally grey, in the end bad person because of his actions guy, that still deeply cares and wants the best for sara, but what he does for her like putting so much responsibility isnt good for her in the end, it creates this codependent dynamic where keiji wishes to protect sara but in the teaches her how to be like him despite him wishing the inverse. Is keiji a good influence? A bad one ? I would say a bad one, but does he care for her? He sures do, and would do anything to protect her. Why am I going a tangent you might say, because shin and kanna are the mirror to keiji and sara. They are in the end the same. Kanna is a direct parralel to sara story wise, which is why I think if the story was twisted the point of view would be either shin or kanna. Kanna is the emotional core of the game, the soul I would say even, her development has a character is the deepest and most complex. Going trough hell, wishing to die to then deciding to live not herself yet but for the people that loved her, Kanna went trough some of the worst events out of the cast, litteraly everyone she even remotely liked or was friends with dies. And yet she decided to stand, for them, for their wishes, that makes kanna the most emotionally strong character in all of yttd. Because compared to sara she had almost no help and was left to her suicidal tendencies. Kanna represents hope and bravery in its purest sense. Thats why kanna is the soul of yttd, she litteraly made shin realised that he could care about others again. But despite all of that kanna was always in the shadow of someone, lacking self worth and self confidence feeling the need to be protected by others, hiding behind shin schemes despite how dodgy they were. Shin was her shield, and now he is gone, and kanna has never been more alone than now. Two people died for her, she hates herself and wishes to go seem them deeply, but she has to stand up for them. And what do we get for chapter three!!!! One scene. Thats fucking it. Okay maybe a little bit more but like god its bad. Kanna is implied in one scene that she doesn’t understand why shin would sacrifice himself for her, which implies that she doesn’t understand that people could love her, which could imply that in general she doesn’t get why either kugie or shin did this for her. COOL ONE IMPLICATION. And like if you read the scene where she says that she will like be epic for them, its implied that kanna doesn’t feel better and is still very much suicidal she still hates herself, kanna doesn’t think she can live, but she has to survive for them. Kanna is implied to be in survival mode more than having hope to be outside. OKAY COOL.

Now I have a question, why does for kanna we have to acively search for her to have any actual development and like relevance, while for other character its more laid out. Why does sara get a scene where we see her change mentality after seeing the joe ai, while kanna GETS OFF SCREEN DEVELOPMENT. IF THERE IS ANYTHING I HATE ITS OFF SCREEN DEVELOPMENT. WE SHOULDN'T HAVE TO GUESS A REASON A CHARACTER CHANGED. Plus kanna is a victim of this almost all the time, which is why people call her flat or not as interesting as shin (I heavily disagree I could write so many pages about her). Kanna is a character which is made in subtlety, which isnt a problem, what is a problem is that she is perhaps the only one. Kanna like I said is a very important character for both routes and yet she is barely treaten has a main protagonist, she is a sidekick, and thats a problem. Because of that her individuality and complexities are not explored. For example I think kanna has many many actual flaws that are barely treated in the narrative, she is far from a perfect kind person, but never tackled on. Kanna is a character that not only never gets a W but also get no breathing room. THIS IS THE FIRST CHAPTER KANNA IS MORE PROACTIVE AND YET WE DONT SEE HOW HER. Yes there is some things that show that, but again its not protagonist level of development, it feels like non important side character development for a character that shouldn’t be that. Kanna SHOULD be a protagonist of yttd, and should get finally her chance to shine instead of always being in someone shadow. I not making pessimistic claims right now since the last chapter isnt out, but I’m very much not hopeful about how nankidai will handle her #challengewriteafemalecharacterwiththesamerespecthasamaleone.

ALICE AND REKO

I Have already written many post about this, but post chapter 2-1, Nankidai had no idea what to do with yabusames, they havent had any actual interresting impact except from lore in any chapter. They become background character especially after nao death. Despite being actual game changing choice, alice and reko are useless to the narrative. WHY? Because nankidai had decided to get them killed by sheep boy, and since nankidai clearly wrote emotion route before logic route, in emotion route he had no idea what to do with them so the became npc’s. Alice relaionship with cast has not evolved from chapter 1, and reko became just one of sara goons. I think this ties into another problem, the emotion route problem, what should make emotion route compelling the character which is supposed to represent it, kanna and the emotion route based choices, but since kanna and the other yabusame gets zero content, emotion route seems like the least interesting route. Because nankidai was more lazy doing it which is a clear problem. That affects the yabusame heavily, sicne he had no plans with them past death. Thats why they are static. Its also linked to another problem which I will mention later. But yes nankidai simply doesn’t know what to do with them, which is especially worst for alice a character that is LINKED TO THE ENTIRE CHAPTER. I think its not only a waste of alice and reko, but also a sign of favoritism. I think nankidai simply cares less about complex ideas for emotion route, I will perhaps write in another post all he could have written interesting for emotion route. Now lets get into THE REAL STINKER OF THE CHAPTER.

NAO EGOKORO: HOW TO MESS UP THE MESSAGE OF CHARACTER

What. The. Actual.shit. I have no words except from that. This out of every charcater bothers me probably the most and actively pisses me off. Imagine writing a character, a female character who was shown as capable and strong despite being an emotional person, imagine creating a character which showed the defiance of asunaro, the fact that yes despite their overwhelming sense of control and power, that there was in fact a way to beat them at their games, imagine writing a character that fought against adversity and had the only canonical route where despite all their wishes that character won, imagine creating a character with a doomed fate which is in direct parallel to another character and shows why he somewhat has the right to be scarred, imagine writing a tragic story about a girl who was only brought here to suffer and be a tool for the progression of A MAN in the canonical narrative, imagine writing a character who entire existence was a tool for asunaro and died because of them, imagine writing that the floormasters consider her useless and non important because she isnt some holy participants, imagine writing that. Okay so imagine that after this poignant ending you decide to do another chapter where you mention her 1 time in a non essential dialogue. THIS IS INSULTING. Because what this honestly says is that, yes nao life truly was unimportant, we get references to greenbling death in the chapter, NAO DIED LIKE THREE HOURS AGO. THIS MESSES UP THE ENTIRE MESSAGE.

This feels like nao was some kind of rug, that when not needed could be trhown out, was her death just shock value, was that the goal of her character. I wanna remind that yes nao was only brought to boost mishima percentages, which mean she was only a tool for another man progression. THERE IS SO MUCH META POSSIBLE COMMENTARY ON THIS. Asunaro who uses children and women as toys for their own goals, that they will throw out when not needed. But instead the fact that nao was completely forgotten just deepens this idea that yes in fact they were right, she was unimportant, and thst deeply isulting I think. Why does every chapter mishima comes back while we get no mention of nao. Why is there a clear focus in this game about more stereo typically strong stoic figures, isn't this entire game about the conflict between emotion and logic. Why does characters like kanna and nao representations of the conflict get zero content. Characters like kanna and nao MATTER, they are perhaps some of the only representation of empowerment that people like me can relate. Because I will be truthful, logic route is in fact not the good choice, not in narrative standpoint (logic route is awesome for the narrative for sure), in a moral standpoint, its an extremely good idea of course. But the message of the game is that in the end its wrong, it’s a wrong choice to act or pretend to be an emotionless logic based robot, keiji is in the wrong, shin is in the wrong, midori is in the wrong. Whats the point of a moral dilemma if you don’t talk about it from one side. THEN WHY DOES THE CHARACTERS THAT REPRESENT THE INVERSE GET ZERO CONTENT. I think nao disappearance is not only one of the most disappointing things in all of yttd but genuinely gets me scared for the future of yttd themes.

Now that we finished every character, you may wonder, why, why is this chapter characterization so bad? What even happened? Ill tell you what happened, there is two reason everything went to shit and let me list it here:

THE SARA PROBLEM OR WHY THIS CHAPTER PLOT FOCUS IS ASS .

YTTD chapter three was way more plot focused than any of the chapters I would say, and honestly thats great for the narrative, if only it was done well. Remember my speeches about the characters about how like 60% of the cast is useless to the narrative, characters we know since a while, why do characters have no development, why does the dummies gets jack shit to do etc. Thats because of one thing, this chapter prioritized PLOT over CHARACTERS. And how can I claim this, because most scenes are sara and her doing everything. This chapter wasn't really about her, at all even, yet we have focused more on her reactions to the events that literally any characters. Chapter three at least half of it shouldn't have been sara focused. You might say what are you on about french? I’m gonna explain. I wanna state some example to show my point clearer, the reveal of why non candidates were brought here, why, in the flipping heck is sara the charcter in particular they choose to only know that, to have the big emotional scene, why especially in logic route, why?????? Yes she knew nao, sure thing, yeah she knew kai, but she wasn't the only person that knew them, sara didn’t even like mention nao almost the whole chapter, you want me to buy some emotional ass scene, for a charcter you barely even cared about showing in the narrative. I could think of a million characters who knwing this would flip out and have ACTUAL CHARACTER MOMENTS (kanna, reko, shin when he would learn that they brought kugie only to die which in the end CAUSED KANNA TO BECOME SUICIDAL AND DECIDE TO KILL HERSELF, GIN).

Another example the final scene where sara presses the button to get rid of midori that scene feels so empty, it doesn’t feel like a revenge or anything, midori has no emotional connection or link to sara, it doesn’t feel deserved, why out of everyone of the cast, why is midori getting killed by the person who he hurted the least. It feels like yeah sara the protag so she has to do it, it doesn’t feel cathartic because the characters that deserved the most to get this final bow didn’t get to get it. IM PRETTY SURE ANYONE IN THE ROOM COULD HAVE PRESSED THE BUTTON AND IT WOULD HAVE BEEN MORE EMOTIONALLY DRIVEN. I wanna discuss emotion route sara in particular, sara isnt as interresting as before in emotion route, since now she is healing and is closing her arc, which means that compared to logic route you don’t really have this want to see her arc which make scenes that should have been about other characters feel even more flat. I am not saying we should stop having sara as a protag no no of course, my problem is that we have seen that sara can work as the protag while focusing on other characters drama.

Example chapter 2-1, in 2-1 the focus is on reko and alice, and yet sara still has conflicts for herself, but they don’t seem to overpower the narrative. This intense sara focus destroyed the other characters screen time, and caused a lot of scenes that should hav been more impact to be less impact. Sara story in emotion route should have been the keiji stuff an ranmaru stuff mainly(and the whole logic route sara becoming crazy stuff too), the whole conflict with midori just felt like it was created only for the narrative. NOW I CAN FINNALY COME TO MY POINT. The sara focus was because yttd decided to focus more on the plot progression that character driven story, thats why sara does everything, thats why the characters have overall less to do. And imma be honest I did not come for yttd for the plot, people love yttd because of THE CHARACTERS, why do people play logic route, because they want to see shin evolve and sara too, why do people save kanna to fullfill shin wishes and save a kid they care for, what most people play yttd for is not the plot. YTTD IS A CHARACTERS DRIVEN STORY, characters not character. I genuinely don’t give a flying fuck about the plot if the characters are non existant, a bad plot can be carried by good characters, but a good plot will never carry bad characters. I know we are getting closer to the end, but yttd always had that balance between action and character moments. But I don’t think its only the direction of the story that is faulty. ITS the:

PACING

YTTD CHAPTER THREE PACING, wow we met this new guy midori, WTF REKO DEAD, anyway who cares lets move on. Thats it thats the pacing. THE CHAPTER IS WA TOO FAST. We go trough plot points so quiclky, we randmoly see reko/alice die then nothing, they don’t exist anymore, characters the cast know since the beginning, again for the dummies its logical, in a way, they don’t really know them, plus they are robots. RANDOM AHH REVEAL KANNA AND SHIN ARE ACTUAL SIBLINGS THEN NOTHING, NO MENTION, NO ACTUAL IMPORTANCE TO THE ROUTE, this only felt like this was added in for plot for logic route so that we know in advance that shin and kanna are siblings. The dummies just die at the end of the chapter in five minutes, qtaro dies in five minutes then the chapter ends. How do you want us to feel emotional weight for a character dying if you give us no time, joe death is one of the most viceral death because its slow and painful to watch, while if he died in chpater three he would have just exploed for shock value. Shock value thats how reko and alice death felt like, just that. Sara figuring out the whole participant thing, shock value thats it. The pacing is just horrible in this chapter so much so that I had actually forgotten kanna and shin were revealed to be siblings at the end of my first playtrough

CONCLUSION

I don’t think chapter three was bad per say, half of it was amazing truly, but the other half was incredibly disappointing, the whack characterization, the horrible plot focus and the pacing are terrible. Emotion route suffered the most because of this and I think on an objective standpoint is the worst written route (i’m the biggest emotion route glazer but like I can’t lie on how bad nankidai fumbled). I still love yttd and am full of hope that chapter three two will be the most amazing thing ever made, but I am scared of dissapointement now, I hope nankidai comes back to his roots wirting like chapter 2. If you like loved chapter 3-1 then honestly I wish I was you, I don’t like being dissapointed, I don’t like being let down, I am not critiquing from a place of hatred but from a very passionate fan, I know my opinion is pehaps not one of the most shared but as a fan of yttd for so many years I think we need to open our eyes to flaws. Perhap chapter 3-2 will fix everything I say and I hope so, I hope this post becomes outdated, but if it doesn’t then it would in my eyes truly ruin yttd. It won’t change chapter 2-2 changed my life and that kanna kizuchi saved me from a lot of dark times.I love yttd and i belive in nankidai and that why as a fan we shoudl critic his work

[thisisyesterdaystudy]

Monday 7th (first day back at it)

actually had the most productive day of my life possibly - i'm sure it will all fall apart tmrw i'm staying up way to late for my 5/6 hours sleep or whatever it was

Things I did

woke up in the AM (pretty good for me)

got ahead in biology, i got both today and tomorrow's topics done so i have more time to revise now which is good

got my sociology work done - that was the least exciting bit of my day, sort of did bare minimum

art history: studying jmw turner rn who i am not a bit fan of and in fact so much the contrary that i've been putting it off for 6 weeks but i put on a random classical music studying playlist and somehow that solved all my problems, i studied art hist the most today and i had a great time, it wasn't really the most efficient use of my time cos i was focusing all on turner biography type stuff when really the thing i should be focusing on is his paintings but i'm just glad to be motivated again

tour of the cell: this was good as extra consolidation for bio, didn't take me long which was good, i'd like to finish it this week but idk if that's possible

byzantine icons: had a very short section today but loved it looking forward to the rest - its very tenuous including this in my art history study time because its not really related to what i'm studying ever i'm just interested but idm

swedish: still enjoying learning swedish a lot - i think i just love being a beginner and i love starting things off, its probably the lack of pressure, like when i've been doing something for a long time there's so much attached to it emotionally - anyway, learned en tårta (a cake), got freaked out by en and ett nouns its cool

went climbing

wrote my daily essay on turner today no surprises there

did some knitting and some sketchbooking, the only things i have left to do today are read and plan tmrw which hopefully i'll do before i'll fall asleep but you'll never know

i wish i had a format for these things

Study Time

biology - 1h50m (inc. 30m extra course)

sociology - 50m

art hist - 4h (inc. 10m extra course + 2h essay research + writing)

swedish - 2h (haven't decided yet whether to include this in study time any input welcome idk what counts to me)

total compulsory - 6h

total extra - 2h40m

total - 8h40m

[gotstabbedbyapen]

Epic the Circe Saga - Reviewed and analyzed by a passerby on the Internet

The Pen overflowed with ink at 11 p.m. last night. So, the next day, she has to write her thoughts about the Circe Saga into words, or else she will explode.

You just need to know three things before continuing:

I have little to no knowledge about writing songs and composing music. My opinions come from my taste and prior knowledge about the saga's behind-the-scenes.

This is ONE review by a fellow stranger on Tumblr. You can agree and disagree with my takes, but please keep it civil when discussing with others.

Despite being a bit harsh on the flaws in this saga, I still love it, the whole Epic the Musical, and Mister Jalapeño.

We good?

Good.

Circe is another lesson about ruthlessness.

Let's start with my two cents on why Jay changed the encounter between Odysseus and Circe.

In The Odyssey, Odysseus was coerced by Circe into intimating with her in exchange for his and his men's safety (Hermes even warned, "Do what she said if you want to live")

But in ETM, Circe only tempted Odysseus in the first half of "There Are Other Ways" to get him closer to the stabbing range (I'll talk about it later). But when Odysseus declined her advances and begged her to spare him because he had a wife at home, Circe took pity on him and let him go.

Now, let me refresh everyone's memory with a short video explaining the differences between The Odyssey and ETM.

Here, Jay said the changes he made from the source material are to serve the theme of Ruthlessness. The two ends of the spectrum are Polites' "Open Arms" and Poseidon's "Ruthlessness Is Mercy" ideologies, as shown in the previous sagas. Every other encounter ETM Odysseus faces will also lie somewhere on the spectrum and teach him something about it.

Circe is an interesting case because she is more flexible on the spectrum.

When we first meet her, Circe turns Odysseus' men into pigs, challenges Odysseus in a monster fight, and "seduces" Odysseus to stab him. Later, when Circe is cornered by Odysseus, we learn that Circe did all that to protect her nymphs, making her an example of "embracing ruthlessness to protect yourself and your loved ones."

After hearing out Odysseus' plight (he wants to go home to his wife, but Poseidon is after his ass), Circe decides to spare him and his men. She is now showing her "open arms" side, "letting her guard down" at these sailors because she pities them or no longer sees them as an immense threat.

In ETM, the encounter with Circe is another lesson for Odysseus about ruthlessness: Going full open-arm or ruthless isn't always the best solution. It's good to proceed with caution, but understand that not everyone is trying to harm you. Know when to go hard and go soft on your opponents.

The relationship between Circe and her nymphs isn't well-developed.

Circe is ruthless toward Odysseus' crew to keep her nymphs safe from the possible danger from the strangers. We can tell because Circe constantly references her nymphs and how she will protect them.

"No one will find / Their way between / My nymphs and I / Their loving queen." - "Puppeteer"

"I've got people to protect / Nymphs I can't nеglect." - "Done For"

"My nymphs are like my daughters / I protect them at all costs / The last time we let strangers live / We faced a heavy loss." - "Done For"

However, at least for me, it's hard to visualize the nymphs are in the island with Circe despite her singing about them every time.

When Odysseus' men enter Circe's palace, we hear their little "Aye" and know they are there. But we don't even get a lick of sound from any of Circe's nymphs, so it's hard to visualize their presence despite Circe singing about them every time.

Circe's protectiveness of her nymphs will be more emphasized if we see her interacting with them. Jay can extend "There Are Other Ways" a bit and let Circe discuss with her nymphs what to do with Odysseus and let them convince her to choose mercy on the men. There, we get more insight into Circe's relationship with her nymphs and how much she loves and cares for them.

Or, at the very least, Jay can give the nymphs a background chorus when Circe is singing or just some female voices behind Circe.

Look at the Ocean Saga: after Aeolus tells Odysseus his fleet is heading to the Land of the Giants, we hear the Laestrygonians chanting right at the beginning of "Ruthlessness" and immediately know that the giants are there.

And I know this is harsh to say, but in the Cyclops Saga, when Odysseus entered Polyphemus' (the Cyclops he fought) cave, I could tell there were sheeps around him from their bleating in the opening.

But the lack of the nymph's presentness isn't the only issue.

More sound effects could have made the battle scene better.

In my first brief review, I said the Circe Saga is mellow compared to the previous ones. The stakes and boss battle weren't as thrilling and electrifying or, at least, not as easy to visualize (same problem with the "presence" of Circe's nymphs, as said before)

Remember the scene where Circe entranced Odysseus so he would come closer to her stabbing range? We only know that from the choreography snippet. If you listen to "There Are Other Ways" without that snippet, you can't "see" Circe's attempt to steal Odysseus' dagger and stab him and will think she's seducing her way out when cornered by him.

At least, we know Odysseus is having his dagger at Circe's throat by the "shing" sound when he draws it, but it's hard to tell when Circe takes Odysseus' weapon because their close-up duet is mostly just singing. Jay could have given another subtle metallic sound when Circe is stealing from Odysseus.

As you can tell by now, the lack of background sound effects reduces the visualization. ETM already has a disadvantage when its audience has to rely on narration and sound effects to tell what is happening. The Circe Saga is more heavy on the former and not enough of the latter like the previous three.

To prove my point, you can pause here and listen to "Survive" and "Done For" on Spotify or whichever music platform you use. While listening, compare the intensity you feel in the battle of Odysseus' men & Polyphemus and of Odysseus' Cyclops & Circe's Chimera.

Oh, you're back?

Now you get why I say the monster battle between Circe's Chimera and Odysseus' Cyclops feels underwhelmed in my first review. The boss battle didn't pay back for the building-up hype.

Although I love to see how Odysseus confronts Circe, I also anticipate the monster battle! The theme "Done For" is used in the saga's first introduction. The Chimera is seen on the album cover. Jay is excited because he is inspired by Pokemon and Yu-Gi-Oh!

I thought the Cyclops vs Chimera battle would be more intense! But then, what little we have were the roaring and clashing of the monsters drowning under the rap battle of their masters. Meanwhile, don't tell me Polyphemus' roaring and smashing his club didn't give you the chill.

Likewise, "Ruthlessness" has loud water-smashing sounds along with the soldiers screaming for their captain when Poseidon and the Laestrygonians destroy Odysseus' crew. They enhance the terror and devastation of the scene, showing how much destruction is done.

See (or hear) it for yourself!

Here is what will make the battle more enthralling: Add more growling for the Cyclops and the Chimera and increase their howling volume - not too earthshaking but with enough intimidation so we can feel the grand scale of the battle. There can be more punching sounds and a loud "thud" when the Cyclops gets rammed back by the Chimera (like Circe's stabbing attempt, we only know how the monster battle was carried out through an animatic)

Maybe Jay wants to focus more on Circe's charming and disarming tactic so he doesn't give it all for the monster battle. But it's still an under-used potential!

Final words!

That is my review and analysis of the Epic the Circe Saga. I may sound like a grumbling nitpick who over-scrutinizes the little details, but it comes from my love and expectations after being blown away by the first three sagas. Jay has proven he can do many wonders in ETM, and I hope he will continue pushing past his creativity limit.

Overall, I still love ETM, Jay, and the Circe Saga. This saga just needs to be polished more. I won't mind waiting until next year's Valentine if Jay will have more time to improve the songs.

But that is all I have to say.

[siggiedraws]

Sonic is fundamentally unrelatable and unrealistic - and that's a good thing

I want to address a common sentiment in the fandom that I've seen countless times over the years - the idea that Sonic should be more humanlike. Specifically, the idea that Sonic should have more human traits, such as anxiety or insecurities, that make him emotionally vulnerable in some way.

I have always felt that this sentiment strips away what I love about Sonic so much—that it goes against his character as someone who is meant to be inspirational rather than relatable. From the bottom of my heart, I truly believe that making Sonic more relatable ruins his appeal and misses the entire point of what role he is meant to fulfill. Sonic being the way he is, an inhuman being that is extremely strong and unyielding mentally and emotionally, makes him an inspirational character that is appealing outside of the realm of relatability.

Please note that I am discussing Game Sonic for this essay, not any versions of Sonic from spinoff media.

(Special thanks to @blurredblu for helping me write this essay!)

Relatability =/= likeability

First, it is important to define "relatability" for the rest of the essay, as what is seen as relatable can vary across countless different cultures and lifestyles.

In this case, we are discussing facets of the human psyche. Traits such as emotional vulnerability, insecurity, or trauma are traits seen as humanlike because they imitate the depth of the human mind. They come across more realistic, and thus relatable to people in real life who have generally gone through emotional hardships.

Relatability is also considered with the implied audience in mind, according to Craft in the Real World by Matthew Salesses.

If relatability were somehow a goal of craft, then the question should be: How can a writer go about trying to make a piece of fiction relatable? If we mean “relatable” as sharing a reader’s experience, the first place to go is audience. We must always ask: Relatable to whom? Which brings us back to the elephant in the room—to call a manuscript “relatable” is really to make a claim about who the audience is or should be.

When writing relatability in fiction, what is important to recognize is who the target audience is. Sonic is a character that was initially created to appeal to a wide target audience, not only meant for young boys but for girls, women, and an older age range in general. When it comes to marketability however, Sonic is almost always advertised towards children, and this demographic is the most pertinent when we look at versions of Sonic written with relatability as a goal. With this idea of the target audience in mind, a character who is portrayed as young and having a childish temperament would be more relatable. The Paramount Sonic movies are a great example of a version of Sonic explicitly written to be relatable to the target demographic on a broad level, heavily influenced by the culture that the movies derive from: specifically a middle-class, suburban, small-town vision of American life. Sonic is portrayed as dependent, inexperienced, and abiding by a nuclear family structure who idolises many elements of American popular culture, such as Keanu Reeves or Marvel/DC superhero comics. Compare this to the games, where Sonic is shown to be self-supporting, wise, and living life as an unfettered vagabond, all without a trace of any pop culture utterances.

In other words, Sonic was created to be the height of unrelatability to his target audience.

It is not lost on me that the prevalent desire for Sonic to behave realistically ties into the idea that the goal of crafting a good character is to emulate realistic human characteristics. A character's relatability is what allows audiences to connect with the character, which is considered unequivocally a good thing.

What is forgotten in this rudimentary line of thinking is that characters in media need to fulfill a role. Characters are not people like you or me, but fictional creations made to serve a particular purpose. There needs to be thought put into what narrative role the character fulfills and why they are portrayed a certain way to the audience. Hence, there must be a reason for the relatability, instead of employing it haphazardly.

To quote Craft in the Real World once more:

"readers’ expectations for fiction are created by their previous experiences with fiction—in other words, by culture."

The desire for Sonic to be relatable can be attributed to people recognizing pervasive tropes present in their previous experiences with fiction, internalizing these commonalities as the correct way to write good stories, and assigning these to Sonic as a result. While I can understand the logic behind this thinking, it is crucial we don't limit our appraisal of media by saying a protagonist ought to abide by a certain limitation, when it's the breaking of rules, however rigid they are, that allow for different methods of storytelling. Sonic breaks the so-called rule that a protagonist must be relatable, and it's this unrelatability that enhances and strengthens the narrative in many Sonic games. In other words, writing Sonic in a relatable way can be a way to write him; that does not mean it is the only or correct way to do so.

We should bear in mind that there are usually financial incentives to cast characters as mentally or emotionally relatable to audiences. To create a protagonist that appeals to all audiences to maximize revenue, the solution is typically to make them broadly relatable. While this can be a successful formula, it is important to not apply it to media indiscriminately. If a myriad of works all prioritise having characters be relatable over what makes them unique, you may end up sacrificing creative integrity for the sake of following a trend. In Sonic's case, you would lose the inimitable appeal that makes him stand out. While relatability can be valuable in certain contexts, it should not dominate all other considerations of writing a character, especially when it is done for the purposes of profitability as opposed to earnestly conveying a character to, ultimately, tell a story.

What makes Sonic stand out

What, then, makes Sonic stand out as a character? His inhuman mental fortitude. In a wide and varied cast of characters such as the Sonic cast, each with their own unique emotional struggles, Sonic stands out as the sole character with no struggle. He has no weak point, no Achilles' heel. Though he is weak to water, that is only a physical weakness. Mentally, he is too strong for anything to affect him long-term.

As stated before, characters are designed to serve specific creative purposes. In Sonic's case, his striking mental resilience is to highlight other messages and characters in the story. This is because Sonic usually plays the guiding or support role in his stories. He is not the sole focus. There is always at least a second character that the story focuses on to highlight that character's problems and struggles, and how that character ends up overcoming that conflict, often with Sonic's help.

With all this in mind, would Sonic stories be improved if Sonic was, instead, a human-like character with human flaws and insecurities? Or would this muddy his core concept and require all Sonic stories to be changed unrecognizably to fit this new, different character?

Sonic has no backstory - and that's a good thing

Understand that this section is not an attack on backstories in general. For the most part, backstories provide insight into a character's motivations and personality. They are effective in accomplishing what they were meant to do - creating characters that are meant to be realistic.

Sonic is not meant to be realistic.

Yuji Naka once stated the reason behind Sonic's lack of a backstory in an interview: if you uncover all the mysteries, then the character will become uninteresting.

Very little information of Sonic's backstory has been revealed. We know that he is from Christmas Island (same interview link as above) and it is implied in the Sonic 1 manual that he and Eggman already know each other and have been regularly tussling before the events of the first game. These are vague and unspecific details that are not brought up in Sonic games at all, and for good reason.

Distance is required to portray a character who you are meant to be separate from rather than analogous to. Maintaining a certain level of mystery around Sonic creates intrigue, as a question is begged but never answered or even brought up in Sonic stories. This is because Sonic's backstory has no relevance on the narrative and delving into it is not necessary.

Sonic's motivations are simple and straightforward. He likes to run and go on adventures because it's fun. He likes to help people not out of some heroic obligation but because he wants to do what he feels is right. There is no need for a backstory to explain Sonic's motivations when they are plainly presented to you in such an uncomplicated manner, and what's on the face of it is just wholly what it is.

Sonic is also a character that remains static rather than having a major character arc. While he can grow when it comes to things that don't affect his overall character, such as Sonic learning and overcoming Shadow's Chaos Control technique in Sonic Adventure 2, he has no emotional conflict to overcome. He has been a fully realized character since the beginning of the franchise.

Compare this to a character like Tails, whose character arc is about him being bullied for his two tails in the past and being inspired by Sonic to be more confident in himself, as communicated in the Sonic 2 manual and his Sonic Adventure campaign. Divulging Tails' backstory is necessary for the improvement of Tails' circumstances and confidence levels to be effectively communicated in the story.

Fictional characters are narrative devices created to tell a story. They are not real. Again, there must be narrative reasons for them to be the way they are.

Providing Sonic's backstory would serve no narrative purpose—none that would serve the themes his stories and character are meant to serve, at any rate.

Sonic has no trauma - and that's a good thing

Upon analyzing Sonic's character in the games for so long, it has become astoundingly clear to me that Sonic does not have an ounce of mental trauma from everything he has been through. This should not be seen as a bad thing, but rather a well-thought-out and deliberate decision that serves to reinforce the role his character serves.

In the face of situations that would be considered stressful or traumatic to the average person, Sonic remains unfazed and even excited. There are countless examples of this: Sonic jumping from a plane with nothing but shrapnel to use as a surfboard in Sonic Adventure 2; Sonic expressing excitement that he's near an active volcano spewing lava in '06; Sonic exuberantly grinding over pits of lava in Black Knight; Sonic burning up with excitement at the prospect of dangerous stakes in Team Sonic Racing while everyone else seems to be concerned.

For Sonic, danger and near-death experiences are not a source of emotional struggle, but rather a source of fulfilment and joy. He lives life on the edge; the excitement of diving off of a plane or nearly falling into lava only fuels his love for life.

Additionally, Sonic also enjoys the simpler pleasures of life. Exploring the world. Reading books. Going on relaxing vacations. Racing through open fields. Life is one big adventure and Sonic is having a blast living it.

The idea of Sonic having some kind of secret, hidden trauma that he hides under the guise of a fake smile can be a fun fanon trope, but, for the purposes of canon and official Sonic stories, there are clear reasons why they should stay as fanon. If Sonic had trauma, it would undermine his unrelatability and make no sense given his role in his stories. Tropes such as Hurt/Comfort and Angst are ubiquitous when it comes to fandom culture, and this could be a case of those tropes appearing in the Sonic fandom simply due to the nature of fandom itself. Enjoying fanon in and of itself is all well and good, but advocating for it in canon will homogenize it by stripping away what is unique about the media we love.

In the end, there is no reason to believe that Sonic pretends or does not behave genuinely when it comes to expressing his true emotions. Sonic simply has nothing dark inside of his heart to hide. This is confirmed in Unleashed, where Sonic's heart is strong enough to resist the negative emotional forces of Dark Gaia without him even realizing. The subconscious nature of the action combined with his humility even leads him to initially think it to be Chip's doing. His heart is so strong and so pure that it is incorruptible by negative forces. This shows how Sonic's resolve is effortless and practically baked into who he is.

Sonic's internal strength is completely unconscious on Sonic's part. He doesn't actively try to be the way he is. He just is.

Sonic doesn't cry - you get the idea

It has become a hot topic in the fanbase in recent years that Sega once provided a revision note for Sonic to not express excessive emotion such as outwardly crying or sobbing.

This idea has generally been met with hostility and aversion from fans. However, this negative reaction has always confused me, and I hope to offer a different perspective to the issue.

Why does Sonic need to cry?

Let's expand on this argument for fairness' sake. A common rebuttal grants that Sonic doesn't usually cry. But in extremely emotionally difficult situations, such as loss or mourning, Sonic should cry because it is only natural to cry in such a situation.

Again, I want to challenge this notion. We could approach it from the angle of human psychology and behaviour—it is far from the case that everyone cries in response to severe adversity, belatedly or otherwise—but instead I want to explore this with respect to the narrative angle we have covered so far. Specifically, with respect to the idea that characters, unlike you or me, are designed and portrayed with certain purposes in mind.

Why would it be natural for Sonic to cry?

To help understand Sonic's handling of loss, let's analyze four examples from the series of Sonic losing someone.

In Sonic Adventure 2, Sonic stays strong and composed right after Shadow's presumed death, paying respect to his fallen ally.

In Sonic Unleashed, after Chip leaves him, Sonic takes a deep breath before moving forward with a smile on his face.

In Sonic Battle, Sonic is desperate for Emerl to live and expresses this openly.

In Sonic '06, Sonic expresses a great amount of despair when Elise dies in an explosion aboard the Egg Carrier.

It is clear from the outset that Sonic is not an uncaring individual - he wouldn't do all the selfless things he does if not because he didn't care about people. He also still feels strong emotion at losing those close to him, but he handles those emotions with a great deal of fortitude. In Adventure 2 and Unleashed, his reaction is more subdued, while in Battle and '06, it's clear that Sonic is upset and isn't afraid to show it. The difference could be due to that in the prior examples, Sonic watched them die in front of his eyes, while in the latter examples, they were already gone by the time we see Sonic's reaction.

Nevertheless, Sonic feels emotion. It is only because he does not express himself in an adequately typical way that this idea is met with so much outrage and pushback. Because Sonic does not cry, and because an expected response in certain scenarios would be to cry, it is perceived as a writing mistake that must be fixed. Sonic is perceived as a bad character because he does not fit into a rigid box of socially acceptable expressiveness.

But why is Sonic acting outside the norm necessarily a bad thing? The fact that Sonic can go through such hard situations and remain positive is a testament to his strength. The fact he doesn't cry makes him come across as superhuman when it comes to mental fortitude. That is not a mistake of his character that needs "fixing." That is the entire point.

The animosity towards the idea of Sonic not crying, that he must express himself a specific way, a distinctly normal and humanlike way, is stirred from the irrational, yet sadly common, leap in logic that Sonic must behave and experience life like you or me.

There is an irony, too, to how localised this demand of realism is of Sonic. I've seen no outrage demanding that he spill blood or break bones like us. But, apparently, he must shed tears to be a good character. Sonic is superhumanly resilient while running, or fighting, or taking on the miraculous powers of the Chaos Emeralds. Chaos is power and power is enriched by the heart. Sonic's is shown to be one of the strongest and purest out there, one that moves ever on from and through the pain of loss, grief, and tragedy. Isn't it bizarre, then, that this is considered a defect to him?

The messaging of Sonic

Sonic's core concept as an inspirational character must be maintained because it is key to the emotional messaging of nearly every single Sonic game.

Right from the very first game, you play as a plucky little hedgehog, fighting against the tyranny of Eggman's industrialization threatening to destroy all life on the planet.

Sonic is small and unassuming. But he fights anyways, determined to stop Eggman. And he does.

This concept remains throughout the franchise. Sonic always remains steadfast in the face of great adversity. From Sonic CD's "You Can Do Anything" vocal theme telling the player to believe in themselves to simple yet motivational phrases—ones that Sonic himself has given to the likes of more normal characters such as Elise: "If you have time to worry, then run!"

There is even a quote on the Japanese box art of Sonic & Knuckles comparing Sonic to the Sun, the far and unreachable star in space that our entire galaxy revolves around.

We look up at the Sun like how we look up to Sonic.

As brought up earlier, Sonic is the antithesis of relatability to his target audience, children.

This is because he is meant to inspire children.

The fact that Sonic remains so popular and successful to this day is undeniable proof that relatability is far from a necessary ingredient for likeable characters. Given the fact that Sonic is such a strong-willed character, that he fights endlessly against adversity with a smile on his face, that he always gives positive words of encouragement, is it any wonder why he is so popular with children? Sonic is a wonderful role model that promotes living life to the fullest. Sonic is deceptively wise, seeming to know simple yet effective solutions to every problem. Sonic encourages you to chase your dreams, to stay strong through hard times, to enjoy life.

Sonic is a friend who is always there for you.

Not only does Sonic provide guidance to characters, he provides guidance in the real world as we navigate our lives and the trials and tribulations that come with them. Each character that presents a problem is the character we are meant to connect with, and Sonic is who we strive to be.

CONCLUSION

I do not hold any grudge against relatable characters. I love them, just as I love all kinds of different characters in all kinds of media.

I believe that coexistence is possible. I believe that you can praise a character for their relatability and realism, just as you can praise a character for being the antithesis of both of those things, and these do not have to be contradicting principles for one to have. It all depends on a character's narrative function and how their character traits – both relatable and unrelatable – serve the story that is being told.

Sonic the Hedgehog is a character whose role in the narrative is to inspire and guide other characters. From a Doylist perspective, he represents the prominent, all-embracing messaging about staying strong and positive despite all odds, inspiring and guiding his target audience.

Every decision put into Sonic's character traits serve his role perfectly. Of course this extraordinary character does not behave like you or I do. Why would he? That's simply not his nature; a gust of wind in the breeze, moving endlessly all throughout the world. A pure and positive heart who has achieved the innate desire of all humankind in a way that we will never truly understand, free from the burdens of human nature. Freedom.

Sonic is unrelatable and unrealistic. And he is an amazing character.

[ghostofsnails]

so did you guys know theres this character called tristan vik disventure camp and

[wavesoutbeingtossed]

Screaming from the crypt (or how the past haunts the present on Midnights)

I know it's been discussed so much since Midnights came out but just.

I love how there is such a clear narrative throughout the album (and perhaps especially on the 3am/Vault tracks). About questioning and regret and choices and coming to terms with all of it. It is one long story about how we're all a mosaic of the choices we make, each one taking something from us and leaving something else in its place.

(And now a disclaimer: I'm looking at this mostly through a narrator/subject lens, and trying not to dive too deeply into real-life events or speculation except for in a general sense. For this purpose I like to look at the body of work as art, like literature, because I find it makes it easier to see the common threads in the different songs and cohesion in the narrative.)

In looking at the 3am+ tracks in particular, it's fascinating how some turns of phrases or themes repeat themselves in different songs, in different contexts. (I'm only focusing on the non-standard tracks because there are too many songs and I'd be here all day but I bet I could do a part two lol.) I know many people have pointed out the parallels throughout her discography already and I’m not saying anything groundbreaking by writing this, but I love how these parallels run through in the same album, because it makes it seem like it's one long story, or at least, one long rumination on many different stories that are coalescing into a single narrative.

Battle (let’s go)

For instance, the one that jumped out at me when I started writing this post the other week was, "Tore your banners down, took the battle underground," in The Great War and "If clarity's in death, then why won't this die? Years of tearing down our banners, you and I," in Would've, Could've Should've. It's a story about staying stuck in the same cycle of reliving trauma and coping mechanisms and bad habits over and over again and fantasizing about how taking the “antagonist” out and gaining the upper hand for good would bring closure (WCS), but the truth is that nothing ever will. All that cycle does, though, is repeat itself in other situations, and in this case pushes someone away the narrator cares for (TGW). The difference is that the imagined battle in WCS is a two-way street in her mind (that is ultimately unwinnable because it was never a fair fight), but in TGW it's one-sided -- she's the one fighting dirty, taking shots, the way she'd been doing in her imagination (or nightmares) all these years. But the person in front of her isn't fighting back the way the person in her mind in WCS would, because their intentions are honourable instead of exploitative.

And that's paralleled in another pair of lyrics from the two songs, "And maybe it's the past talking, screaming from the crypt, telling me to punish you for things you never did," (in TGW) and "The tomb won't close, I fight with you in my sleep," (in WCS). In both cases, the funeral imagery makes it seem like this past event should be dead and buried in WCS, but it keeps rising from the dead, haunting her no matter what she does and in TGW, another (or perhaps the same?) tomb that won't close keeps unleashing new ways to hurt her and in turn the new person in her life. In other words, the trauma from the past continues to bleed into the present.

(Again from a literary point of view, I'm not saying the events of the two songs are linked IRL, but they're fascinating textual parallels on the album as a string of chapters, which is why Dear Reader is so compelling, but that's a whole other essay.)

To keep the battle motif going, there’s yet another parallel, this time between TGW’s "[You were a] soldier down on that icy ground, looked up at me with honor and truth," and You’re Losing Me’s "All I did was bleed as I tried to be the bravest soldier, fighting in only your army.” In the former, the subject is laying down his armour in the war she’s projecting onto him, waving the white flag, and she realizes that she’s about to destroy something if she doesn’t put her sword down too. By the time we get to YLM, the roles are almost reversed; at the very least they’re supposed to be on the same team, but in this case she’s doing all the heavy lifting, fighting for their relationship in contrast to his apathy killing it. It’s also pretty interesting (if not outright intentional) that one of the 3am+ editions of the albums starts with The Great War, where they find themselves in conflict (even if it’s in her head) that ends in a truce, and ends with You’re Losing Me signalling the end of the relationship, evidence that the resolution in the first song wasn’t an ending but merely a ceasefire before the last battle.

Putting the rest under a cut because this is waaaaay too long now ⤵️

(There’s also another metaphor there in The Great War with its battle imagery: World War I, aka The Great War, was supposed to be the war to end all wars, because loss on its scale was never seen before and when it ended, most thought never again would the world embroil itself in such battle, the horrors and implications were so devastating. Two decades later, the world found itself in WWII, with an even larger scope and more horrific consequences, the intervening time between the two a period of festering conflicts and resentment leading to some of the worst acts the world would see. Bringing real life into it for a second, there’s something a little poetic, though sad, about The Great War the song being about a fight that could have ended the relationship that they ultimately resolved and was meant to be evidence of the strength of their love, but so too did it end up being a period of détente, the greater battle coming for them years later. But that is not the point of this post.)

If one thing had been different

Another major theme in these editions is pondering the "what ifs?" of life, but I think it takes on even more significance in the broader context of the album in the lyrics of "I'm never gonna meet what could've been, would've been, should've been you," in Bigger than the Whole Sky and the repetition of would've/could've in Would've, Could've, Should've (I would've looked away at the first glance, I would've stayed on my knees, I would've gone along with the righteous, I could've gone on as I was, would've could've should've if I'd only played it safe, etc.) In both songs, the narrator is mourning an alternate course their life could have taken* and questioning what they could have done differently, in the aftermath of trauma and loss, and the regret that comes with that loss, and with the loss of agency in the situation because ultimately it was never in their hands. In an album full of questions, wondering about the path not taken, or the forks in the road that have led to a different version of your life, it's digging deeper into the contrast of choice vs. fate, action vs. reaction, dwelling on the past vs. moving on. When you're supposed to let go of the past, what do you do when it is holding your future hostage?

(*I know there are different interpretations/speculation about BTTWS which I am not getting into on main. I'm just saying that whatever the song is about, it's grieving something that never came to be. The literal origin of the song is less important to the album than the sense of loss it portrays. Whatever the inspiration is, it's crafted to tell part of the story of Midnights of ruminating over how, to borrow from her previous work, if one thing had been different, would everything be different?)

(Also I was today years old when I realized that the words are inverted in the two songs. Apparently I've been hearing BTTWS wrong this whole time.)

There's also an interesting tangent in the role of faith in both songs: in WCS, the events of the story cause her to lose her faith (e.g. "All I used to do was pray," "you're a crisis of my faith,") and question all the things she felt had been unquestionable until that point in her life (e.g. "I could have gone along with the righteous"), whereas in BTTWS, she questions whether that very lack of faith is to blame for the loss in that song ("did some force take you because I didn't pray? [...] It's not meant to be, so I'll say words I don't believe"). It's like pinpointing the moment her life changed and upended her beliefs (WCS), but as a result then leaving her unmoored in times of crisis because ultimately there's no explanation or comfort to be taken from what she used to hold true before that (BTTWS). The words she once relied upon to guide her have long since lost their meaning, but in times of trouble it leaves her wondering if that faith she once held then lost could have prevented this pain.

(Shoutout to WCS for being Catholic guilt personified lol.)

To keep on with the vaguely faith-y notions, an obvious parallel is the line in Would’ve Could’ve Should’ve about, “I damn sure never would've danced with the devil at nineteen,” and, "When you aim at the devil, make sure you don't miss," in Dear Reader. All of WCS is about her fighting with an antagonist who haunts her, with whom she wholly regrets ever becoming involved. DR could be seen as a reflection on that fall from grace, warning the audience that if you choose to go after the person (or thing) haunting you, make sure you do so clearheaded enough to be decisive. Again, these “devils” may not be related in real life: the IRL devil in DR could be speaking about her naysayers, or Kim*ye, or Scott & Scooter B, etc., meaning not to cross your enemies until you know you can win. But taking real life out of it and looking at it textually, I am intrigued by the link between WCS and DR, so that’s what I’m going with here. And perhaps that’s even the point in a wider sense; there will be multiple “devils” in your life, or threats to your well-being. If you’re going to commit to taking them down — whether it’s an actual person, or the demons inside you that refuse to let you go — make sure you have the right ammo so that they can no longer hurt you. (Of course, one lesson from these experiences is that sometimes you can’t win, and you have to live with the fallout.)

(Sidebar: I know that “dancing with the devil” is a turn of phrase that means being led into temptation and engaging in risky behaviour, as opposed to describing the actual person. Given the religious metaphors in the song, that could very well be/is the intention, particularly when it’s preceded by, “I would have stayed on my knees” as in she would have continued to follow her faith — in whatever sense that means — had she never met this person, which could also be a more eloquent way of saying she would have continued to be live her life in a way that was righteous (even naive) and seen the world in black and white. Either way, it’s a force she wholly rejects. Like I said, multiple devils, same fight.)

Regret comes up too: in WCS, she says, "I regret you all the time," obviously directed at the person who manipulated her and led to her perceived downfall, citing him as the one impulse she wished she'd never followed, because it won't leave her no matter how hard she’s tried. In High Infidelity, she tells the person to, "put on your records and regret me," and on the surface, it’s like she’s turning the tables, painting herself as the one now causing the regret in someone else, the one inflicting the pain this time. Yet the verse preceding it and the lines following it in the chorus depict a partner who is also emotionally manipulative and vindictive like in WCS (“you said I was freeloading, I didn’t know you were keeping count,” “put on your headphones and burn my city,”). It’s not so much that she’s intentionally harming the person (the way the person in WCS does to her), but rather that the venom in the subject’s feelings towards her seeps through; she’s imagining the way he’s going to feel about her when she leaves, hating her just for by being who she is. (There could be another tangent about how in both songs she’s there to be a “token” in a game for both of the men, who play her for their own purposes.) The regret is dripping with disdain. It’s as though she’s picturing how the person is going to hate her for doing what she’s thinking of doing the way she hates the person who first hurt her.

Sadness, unsurprisingly, shows up in a few lyrics. In BTTWS, “Everything I touch becomes sick with sadness,” sets the scene of a person so overcome with grief that it permeates everything around them; they cannot see their way out of it and feel like the fog will never lift. In Hits Different, it’s, “My sadness is contagious,” the result of a breakup where the person’s grief again touches everything and everyone around them, pushing them further in their despair and loneliness. The reason behind the grief in either case may vary, but regardless of the source, the feeling is overpowering and isolating. They may be different chapters in the story, but the devastation is hauntingly familiar. (As is a recurring theme in Midnights as a whole: there are situations and feelings that present themselves at different points in her journey and colour in the lines in different ways along the road. Like revisiting an old vice and realizing the hit isn’t quite the same as it was in the past.)

Death by a thousand cuts

She also writes about wounds on this album, which isn't surprising I suppose given that the whole conceit is that these are things that have kept her up at night over the years. WCS is perhaps the driving narrative on this never ending hurt when she sings, “The wound won't close, I keep on waiting for a sign, I regret you all the time,” suggesting that no matter what she does, the pain of this experience has permeated everything she’s done afterwards. (Not unlike the overwhelming grief in BTTWS, for instance.) Elsewhere, in High Infidelity she sings, "Lock broken, slur spoken, wound open, game token," and in Hits Different, "Make it make some sense why the wound is still bleeding.” Again I'm not suggesting they're about the same events; the line in HI is about a situation where a partner crosses a boundary, hits below the belt, picks at an insecurity (or creates a new one) and treats the relationship like it's transactional, opening the floodgates in turn. In HD, the wound seems to be more self-inflicted, where she's pushed the person away. (Over a situation real or imagined she feels she needs distance from.) But again, something has picked at her like a raw nerve, and just like in the past, she's hurting, even in a different time and place and person. Almost like the wounds of the past break open over and over again to create new scars. If one were to extrapolate further, it wouldn’t be the biggest leap to wonder if the wound open in WCS, then torn apart in HI makes the one in HD hurt even more.

(I once wrote a post about how I think as time goes on, WCS is going to turn into one of those songs that will be found to drive so much of her work, because it’s just… kind of the unsaid thesis statement of so much of her songwriting.)

Another repeated theme is that of the empty home and loneliness. In High Infidelity, she sings, "At the house lonely, good money I'd pay if you just know me, seemed like the right thing at the time," painting a picture of someone who may have everything they'd want to the outside world, but in reality feels metaphorically trapped in their home (or at least alone amidst abundance), a symbol of a relationship gone sour and a failure to build connection. She just wants someone to understand her, want her for her, but as she's written earlier in the song, she's just a pawn in the game, a trophy from the hunt. Home, in this case, is lonely, isolated, an emblem of her fears. In Dear Reader, she continues this thread, then singing, "You wouldn't take my word for it if you knew who was talking, if you knew where I was walking, to a house not a home, all alone 'cause nobody's there, where I pace in my pen and my friends found friends who care, no one sees you lose when you're playing solitaire." It's the same idea, admitting to listeners that the gilded cage she lived in kept her distanced from her loved ones and real connection, keeping her struggles close to the vest but feeling desperately lonely amidst her crowning success. She's pushed people away and it may have felt like the right thing at the time, but in the end maybe felt like she was trapped. And when you push people away, eventually they take you at your word and stop pushing back; you’re a victim of your own success at isolating yourself. What starts out of self-preservation then further perpetuates the underlying problems.

(There's another interesting link about "home" also feeling unsafe with HI's "Your picket fence is sharp as knives," which further leads into the theme of marriage/domesticity feeling dangerous, which is a whole other thing I won't get into here because it's another discussion and may derail this already gargantuan word salad.)

In a slightly similar vein, we have the metaphor of bad weather for a rocky road or unstable relationship, in High Infidelity again with, "Storm coming, good husband, bad omen, dragged my feet right down the aisle" and You’re Losing Me’s "every morning I glared at you with storms in my eyes.” They aren’t speaking of the same situation or even same kind of breakdown, but it is pretty interesting how the idea of clouds/storms/floods/etc. play such a role in Taylor’s music to signal depression, apprehension, fear, uncertainty, etc. In HI, I think the “storm” coming is the looming threat of commitment to a partner who makes the narrator uneasy (if not fearful). In this case, the idea of making a life with this person is not one that incites joy or comfort, but instead makes the narrator feel that dark times are ahead if she continues down this path. Perhaps in some way, the “storms” in YLM have made good on the threat in HI in a different way; it’s a different home, a different relationship, but the clouds have settled in regardless, and some of her fears have come to fruition in ways she did not expect. The person she once trusted no longer sees her or her struggles (or worse, doesn’t care), and the resentment and pain build with each passing day.

Coming back to heartbreak, one of the obvious "full circle" moments is the beginning of a relationship in Paris, where she says that, "I'm so in love that I might stop breathing," clearly enthralled in a new love that allows her to shut the world out and grow in private, capturing the all-encompassing nature of the relationship. This infatuation has consumed her in the most wonderful way (in contrast to the sorrow of some of the previous songs), and it feels like a life-altering (or even life-sustaining?) force that is so strong she may forget what it’s like to breathe. (Metaphorically speaking, of course.) By the end of the album, though, in You're Losing Me, that heart-stopping love has become a threat: "my heart won't start anymore for you." In the former, her racing heart is full of excitement, but by the latter, her heart has given out completely under the weight of the pain she bears. (YLM is full of death/illness imagery which I already wrote about awhile ago so I won't hear, but needless to say that song deserves its own essay for so many reasons.) She's gone from the unbridled joy of the beginnings of a relationship to the unrelenting sorrow of its end, two sides of the same coin.

Love as death appears elsewhere in the music too, for instance, in High Infidelity’s, “You know there's many different ways that you can kill the one you love, the slowest way is never loving them enough" and You’re Losing Me’s “How can you say that you love someone you can't tell is dying? […] My face was gray, but you wouldn't admit that we were sick.” Though not completely analogous situations, they both tell the tale of one partner’s apathy (or at least denial) destroying the other. In the former, the partner’s actions (or inaction) are more insidious, if not sinister; in the latter, the lack of momentum (or admission of a problem) is passive. In both cases, the end result is the narrator’s demise; it’s a drawn out affair that chips away at her morale and her health and her sense of self. (Breaking my own rule about bringing in alleged actual events into the discussion, but the idea that the relationship in High Infidelity, which was obviously fraught with unease and even fear, ended in a similarly excruciatingly slow and hurtful death by a thousand cuts as the relationship in You’re Losing Me almost did at that time must have been so painful. It almost feels like YLM is wondering why what used to be a source of light in her life was mirroring a situation that caused her such pain in the past.)

From the same little breaks in your soul

I said early on that part of what is so compelling about Midnights is that it feels like an album about ruminating — on choices, on events, on people — and the two final “bonus” tracks of the album depict that as well. In Hits Different, she sings that, “they say if it’s right, you know,” an ode to the confusion of a breakup and struggling with the aftermath of calling it quits. It’s a line that has always intrigued me, because the typical use of the phrase is in the sense of, “you’ll know when you meet the one,” but here it seems to have a double meaning, a reassurance perhaps from the friends (who later on tell her that "love is a lie") that she’ll know if she’s made the right decision in calling it off, but could also be her wondering if the relationship is right, she’ll know, and want to reconcile. In the final bonus track, You’re Losing Me, she sings, “now I just sit in the dark and wonder if it’s time,” this time leaving no doubt about the dilemma she faces, though it’s no less fraught. She’s wondering, perhaps for the last time, if now is finally the moment to end the relationship for good. They say that if it’s right she’ll know, and now she’s wondering if that feeling inside her (that once told her her partner was the one, which is why it hit differently), is telling her that it’s time to go for good. Wait Alexa play “It’s Time To Go.” These are not only the things that keep her up at night, but the things that play over in her mind like a film reel in her waking hours.

Midnights as a whole is a deeply personal album, as is most of Taylor's work, but the 3am+ edition tracks seem to dig even deeper to a lot of the issues raised on the standard album. Almost like the standard tracks are the things she wonders about on sleepless nights, but the bonus tracks are the things that haunt her in the aftermath. The regret, anger, sadness, grief, relief, even joy— they’re the price she pays for the memories she keeps reliving. Midnights might be the most cohesive narrative of all her albums, and really does feel like we’re watching someone work through her journal over time, stopping short of outright naming those giant fears and intrusive thoughts (except for when she does) but making them plain as day when you connect the songs together, and perhaps never more clearly than in the expanded album. It’s incredible how the songs stand on their own to relay a specific moment in time, but that they are also self-referential to each other (whether thematically or overtly) to weave a larger web over the entire work. We’re so lucky as fans to have these stories and to keep peeling back these layers as time passes. (And my literature-analysis-loving ass loves her even more for it.)

This is obviously by no means an exhaustive list, and I know there are more parallels and probably even stronger links (particularly when you add the standard version into the mix), but these were the ones that particularly struck me and I’m just glad I’ve had a chance to sit with this and think it through. ❤️

[mimjandoodlesstuff]

(Click for better quality)

This project has been something I've wanted to do for a while but only now got around to actually making it.

The real painting's name is The Defense of the Sampo in English (by Akseli Gallen-Kallela, 1896). Yes, the Sampo is golden pizzas in this "AU", because obviously! And the pike jaw kantele is April's video camera.

[breadstickdeadstick]

i see no difference

[supemaeve]

Why doesn't Vought want diversity? Wow. These are some real hardballs Maria Menounos. But check your facts. Let's take The Seven, for example. We've got A-Train, he's a black man. We got Black Noir he, uhm, well he doesn't identify with any race, really so, they're covered.

[piosplayhouse]

Horse Isle 3: The Yandere Sim of Horse Games

(or, an extended study in how to hate your own playerbase as much as humanly possible)

(or, or, tldr there's pretty much no updated information on just how ridiculously bad this game is so here's a writeup on how I got banned and all the subsequent information I found during my time playing for documentation's sake)

Part I. The Backstory

My beloved followers will know that a few months ago I began playing Horse Isle 3, a horse-raising MMO surprisingly released in the year of our horse 2019 despite its 1997-era website and Runescape-esque graphics. Some of my play through (mostly just horse pictures) is chronicled in my tag #homophobic scum horse chronicles ¹ if you want to see how drippy my horses were before they killed me.

Now, don't get me wrong. I have endless respect for small teams of game devs that manage to create insanely impressive products-- which HI3's elaborate real-genetics breeding system, its main draw, certainly is. Coding is hard, modeling is hard, moderation is hard. Tip a coin to your local small indie teams that work hard to make incredible art.

However, HI3 is far from an admirable success story about a small dev team that triumphed over its obstacles.

The game is known for a variety of things, chief among them being the staff's rampant homophobia (which has earned it the moniker "the homophobic horse game"), hilariously uncharismatic mods (to the point where one of the main moderators, Connie, is mentioned by NAME in the majority of poor reviews of the game), the dev team's unrepentant rejection of criticism, and racism with a side of downplaying war crimes.

(Screenshots taken from Sitejabber, here)

Now, it's marketed as a game for ages 8+, which, as I've briefly talked about before, is unfortunately a rarity in today's hostile internet climate. I grew up on a variety of typical child friendly MMOs like ye olde Pixie Hollow and PetPet Park, and truly lament that so many of these have been shut down over the years. As such, I have no issue with strict rules or word filters in games, with the caveat that they are effective and genuinely intended to keep people safe. Kids are naive, and can and will say things that they shouldn't (I, for example, got kicked from a Minecraft server when I was 8 because I posted in chat that my mom told me sex wasn't a bad word. things happen). Filters are a very appropriate tool to aid manual moderation of chat features, especially in an environment where mistakes will be made.

However, HI3's, as shown below (words that are forbidden from chat are marked in red), are... questionably selective.

(Screenshot taken by Alice Ruppert, from here)

This appears to be attributed to the fact that along with having horrible moderators, HI3 also seems to have a remarkably horrible developer backend, which is a trend that you'll see pop up quite a lot in this post. Taken straight from the horse's (haha) mouth, the lead developer is the only person who seems to be able or willing to add to the filter list, and for whatever reason only wants to block the "most common inappropriate words"- because saying transgender is more of an issue than nazi and gulag I guess.

(Screenshot taken from Top R.'s Sitejabber review, here)

¹ I'm not sure how far this will reach out of my audience, and since people have already assumed weird stuff about me I thought I should probably clarify-- I'm not calling the game "homophobic scum" ghghg, my play through was focused on making horse versions of characters from a novel called "scum villain", so I took the scum and added horse (I actually have another tag for a different horse breeding game called "scum horse chronicles" so I needed to distinguish them easily but am not very good at tagging). That's it.

Part II. The Game

The game itself is, putting it simply, a mess at best and openly hostile towards newcomers at worst. The game's UI is comparable to your average petsite with 20 thousand things to click on but if you tried to navigate that while also watching the Pilgrim's Progress movie by Scott Cawthorn on 90% of your screen. This is a very good overview of what your experience first logging in will be like, with the added caveat that talking in global chat costs in game currency and that the game doesn't tell you this at ALL until you try to type in chat, and that depending when you log on it's entirely possible that you'll spawn into a completely dead town miles away from anyone who can help you, wilderness survivor-style.

To make things more complicated, information about the game is split between the game itself and the laughably horrible website/forums. Spectacularly enough, the forums, which provide vital game information and rule elaborations, cannot be searched in any way (not via Google or any hard-baked search bar) and are regularly purged by admins to erase evidence of scandals and poor moderation complaints.

Now, something you will find to be generally people's biggest issue with HI3 is their strict no "date-speak" rule, which sounds ok on paper but is worded *just* vaguely enough to give the moderators full jurisdiction over whether or not they think you're breaking the rules. Selective moderation is a major theme in the HI3 chronicle, but it is perhaps most documented with regards to this rule, because what the hell does "boyfriend/girlfriend talk" even mean?? Outside of vagueness, this rule has also been scrutinized extensively by others due to the fact that a pair of previous moderators were openly married with the igns "FrogLips" and "MrsFrogLips". I don't personally think this is super condemning, since kids usually address adults by Mr/Ms etc whether or not they know they're in a relationship, but regardless it's clear that the complete lack of elaboration on what this rule means can be easily manipulated to lodge any number of complaints against people.

(Screenshot from the Horse Isle website rules page, here)

What I will say, however, is that this rule would probably hold more water if the game wasn't literally about breeding horses.

You can pimp out your horses, you can pay others to breed your mares, you can put any number of special (real life currency-bought) amulets on your horses to make them more fertile/have twins/give birth faster. I paid $1000 to castrate Jiang Cheng. The word "stud" (which btw, is another word for a black butch lesbian) is used constantly. Perhaps most shockingly, horse inbreeding is very common and accepted among the community, to the point that it is explicitly mentioned and EXPLAINED in the game guide; the only penalization for it is that your incest product foal will have a lower intelligence stat. Call me old-fashioned, but I feel as though implementing and acknowledging that horses can breed with their own relatives is hmm perhaps more harmful than another player saying the word gay, but what do I know.

(Screenshot from the Horse Isle website game guide page, here (only accessible with an account))

Well, you might ask, after you breed and sell a horse, is there any way to put a brand on it so you know it's from your ranch? That's where the "prefix" system comes in. Prefixes are bolded titles that appear in front of a horses name in lists and in the overworld, and are described in the official game guide as follows:

(Screenshot from the same Horse Isle website game guide page as linked previously)

I think you can toggle them off if you don't want to see them, though I could be wrong. They're basically just 1-5 letter titles you can put on your own horses (nobody else's, importantly). There's no way to search prefixes, and you won't see them in game unless either a horse with a prefix is listed in auctions or you actually encounter someone in-game and see their horse.

In fact, I would learn later that not even the moderators monitor the prefixes, and apparently have no way to mass-delete them. At all.

(Image taken from an anonymous friend)

Now, it's not unusual that a game as complicated as HI3 would inevitably have a pretty taxing server-side code. Millions of multifaceted assets and features is really nothing to scoff at. However, the notion that your lead developer has to perform a manual search in the game's code to delete the equivalent of a stamp from every instance individually is hilarious. I'm not going to pretend to be a game developer, but there HAS to be a better way of coding a feature that intakes user-generated content that should probably be monitored regularly than that, right? Or, at least, there should be a robust filter system that could prevent any issues from occurring before they would need to be fixed so tediously. You might think.

On December 29th, 2022, I discovered how to register a prefix. It's very common to headcanon the characters I was naming my horses after as transgender, and I thought it would be cute to attach "TRANS" to my horses as a nod to this. However, a filter blocked the word. I was disappointed, but not surprised², and then tried to think of another word that was under 5 letters. To my complete and gay surprise, "GAY" was not filtered out, and henceforth, this worked as my prefix.

As you can see on the popup here, there are scant guidelines for what the requirements for a prefix should be. And, in this moment of apparently utter foolishness, I was under the impression that since "GAY" was NOT filtered out despite there clearly being a filter on this function, it was ok to register. Possibly it's not filtered because it's a synonym for "happy", I thought, which is also cute because I do like when horses are happy. Perhaps the staff had learned from their past criticism and had loosened the restrictions slightly because they felt restructuring was appropriate now that gay marriage is legal in the US, I imagined.

(My original post)³

What I could not imagine, however, was that the only reason the word wasn't filtered out, despite being possibly the most common sexuality-related word, was just because the lead dev couldn't be assed to add it to the filter list. And that apparently I was supposed to know this because it would lead to a permanent ban on my second offense with no warning.

² Hence typing "eat shit lol". Admittedly childish of me, but I didn't put a lot of thought into the post because it was just part of a casual silly live blog I was doing to blow off steam. The "if I get banned" tag surprisingly was not referencing "GAY", as I genuinely thought I was in the clear for that for reasons stated above, but because I tried to register "TRANS" and then posted about it online. You don't have to believe me, but I feel the need to defend myself since some people have wildly extrapolated that my actions were malicious instead of just a split second decision I made because I was bored one morning.

³ Despite the pop-up box saying that prefixes cannot be removed, they actually can at any time, given only that the person that owns the prefix unregisters the horse from it. The unregistering mechanic is for whatever reason not told to the player upon registering the prefix, but is mentioned in the official game guide linked above.

Part III. The Ban, The Report

I will preface this section by saying that I played the game normally. I do like being outrageous sometimes for my followers' entertainment, but I really don't like dragging random people into my antics if they aren't interested. Because of this, I really didn't interact with other players unless we were mutuals on some other platform. I rarely used the chat feature except to participate in server-wide events that required team participation, and I typically just explored on my own for fun. In general I think I was a pretty ok player, objectively, which lines up with my user trust score.

You see, the way moderators of HI3 allegedly keep track of rule breaking is through a "user trust score" with points added if you use features in the game, help people, etc, and points deducted if you violate rules. Anecdotally I've heard that around the -10 total points mark is when moderators put you on a sort of list to be monitored for suspension or punishment, which is pretty reasonable.

By the time I was banned, I had a score of +31. The -10 offset was a part of this debacle. The only thing I had ever done in the game which warranted any kind of violation was, as you will soon see, literally just naming about 30 of my own horses "GAY", a sin egregious enough to apparently offset about 200 hours worth of playtime with no issues.

Because of this, I was a little bit confused on multiple levels. For one, I had never even seen a moderator in game, nor been informed of discipline at any time before. On top of that, their permanent ban notification is extremely strange and vague. The text pop up when you try to log in just reads "Account currently banned -1 minutes ().", which is probably just copied straight from the server-side code for things and just wasn't translated into user-side comprehensibility. You'll also notice there is a "()" section in the notification, which I would assume is where they put the reason for bans, except for the fact that mine was completely blank.

The website which allegedly would hold more info just repeated a near identical code: "BANNED! -1min. Reason:".

So, with nothing else to go off of, I messaged support on the jankiest help center submissions I've ever seen on a website with this:

"Insisting" and "total disregard" are very strong words to use for a situation in which I just typed a word into a textbox because the game let me, I'd think, which is why I tried to reason with her. The prefixes mentioned in my message are well-known amongst the userbase and are much older and wider-spread than mine, so I would think that there would be at least some sort of precedent for this. The "geldings and yearlings" reasoning was mostly a joke, but also intended to express that the nature of an acronym (as the majority of prefixes seemed to be) is that it can be interpreted in many ways. Intent was thrown around a lot when I was discussing the issues of prefixes with other users, and it seemed to have been used to excuse previous behavior in situations where mods liked the users in question better.

I also cannot emphasize enough how much they did not warn me about my prefix being removed. When I logged in and saw my horses' names did not include it, I was suspicious that the moderators removed it just because of the history of their behavior. However, I had no hard evidence because they did not inform me at ALL. Not through in-game mail systems, not through server messages, not through the website. Complete radio silence except for the addition of an unexplained "-10" to my user score. I did complain to some people that I thought it was removed, but a combination of things suggested that it wasn't a huge deal, so I mostly let it lie. For one, I had over 100 hours of playtime and was mildly worried that one of my chat messages had been flagged without my knowledge. For another, my profile text had also mysteriously disappeared, probably because of a glitch, so who knows what could happen in this game. Lastly, I went to the prefix registry again just to check and hilariously enough, they didn't actually block "GAY" from the database. Yeah, they apparently individually deleted it from all of my horses, but couldn't be assed to add such an "inappropriate" word to their filter system.

So I just registered it again and publicly told people that I would do it again if the mods didn't actually tell me to stop. I didn't really care about the prefix because to me, the feature was purely cosmetic. All I wanted was transparency from the staff.

Well, anyway, I assume Connie couldn't think of a comeback, so she just closed my report. I was annoyed because quite literally none of my questions were answered and she didn't even refer to anything in specifics. It would take less than 1 second to type the number of the rule I violated, but I guess that was too much work for her.

I tried to give them as many outs as possible to just apologize about poor communication, but they didn't even take the bare minimum. I would also like to mention that this support ticket process is the ONLY way to directly communicate with any staff. There's no ability to upload files or images on this system, and no email listed that you could contact. So essentially, there's no way to give actual evidence for anything you say even if you want to.

Kat, who is known as the slightly-more-reasonable-but-still-pretty-bad mod then picked up the case. Her response actually provided specific information, which made it leagues above Connie's, but still included some very strange elements for sure.

The notion that this game is intended for a worldwide audience is especially funny to me because you would really think if they cared about other countries they wouldn't violate their own rule one by using a slur for Europe's largest ethnic minority, but ok. It's a weird hill to die on considering how USA-dominated the staff's opinions towards rules are (Connie justifies the usage of a slur for Rromani people based off the opinion of a single roommate she had who reclaimed it, Joe defends a store in-game being called "The Gulag" because Americans don't think gulags are that bad (discussed and cited in the conclusions section)). But then again, picking and choosing what parts of other countries' customs you want to respect is very American, which is why I think they should add an extra star rating for its patrioticness on the website.

As I mentioned before, the prefixes I included in my response are definitely older and more commonly-used than mine, so I'm not sure how they wouldn't have seen them before. This comment also ties back to the suggestion that the moderators have very little control or insight over a distinct feature of their game, which is not a great thing to admit so casually.

Kat has a strange habit of immediately contradicting herself in the same paragraph, as can be seen here. "The glitches never happen and bugs were quickly fixed, but games still have bugs". "People that break the rules usually write in to ask what was wrong, but most people usually never ask". At this point I think we can confidently say that they don't even make an attempt to proofread any of their responses, to be honest.

Her 7th paragraph has one of my favorite lines in this exchange. "If we had to notify players every time we made moderator changes to their account we would spend 24 hours a day" is giving huge Yandere Dev "stop emailing me because I have to spend 24 hours a day reading all my emails instead of coding" energy. You really have to wonder why these people that seem to hate moderating so much are moderators.

You can tell by my response, but I do not like the use of "most" and "usually" in this at all. What's your standard isn't others' standards, and this is a topic which needs to be navigated gently, especially when kids are concerned. I never played the previous Horse Isles. I had no experience with the mod team, or with violations, or with anything because no one bothered to take five seconds to send me a message. No, I did not know that you would permaban me for typing a word that's in one of the most popular traditional Christmas songs in a place were only people who interacted with me would be able to see it. Most games would not do this. To take a lackadaisical approach to your literal job of community management because you want people to moderate themselves is contradictory to your claims of keeping children safe.

I will admit I was being a bit cheeky here as a subtle hint that perhaps they should take feedback, but I also would have taken a genuine response. I try my best to be as polite as possible to tech support staff because not everyone is! But they're people too and a simple thank you is worth a lot in customer service, even virtual. But Kat... you're not really giving me anything to work with here! If anyone reading this has feedback for how I could've rephrased things, feel free to comment them honestly. I actually ran drafts of these messages through a few people before sending them to make sure I was as concise and polite as possible, even if support clearly wasn't interested in reciprocating the effort ("following out rules using the the GAY to begin with"...?).

Part IV. The Backlash

I won't go too into depth in this section because it's more personal than documentarian, so feel free to skip to the next section if you want!

After this, the girlies were not happy with me. The one saving grace of HI3 that I've heard pop up over and over again is that the community is great. And a lot of users are! Don't think I'm disparaging people who play the game because I'm not-- it's a really fun experience with the right people. I was in a Discord server with a lot of people who were extremely helpful and kind.

However, within the community, there's also a pervasive culture of silence. According to Alice Ruppert of The Mane Quest, a lot of people will refuse to go public with their complaints about the staff due to fear of retribution, which I feel is unfortunate but understandable. There's a pressure to shut up and eat your food lest you be seen as someone causing controversy for the sake of it and ruining the sanctity of the game, which is an attitude explicitly encouraged by the staff (discussed more in the next section).

I liveblogged my entire correspondence with the support team to a group of other players for the 2 days I talked to them, and did have a lot of acceptance from people who appreciated someone speaking out. After the 2020 Mane Quest article, public information had sort of just gone dark as the community was pushed further into niche seclusion, despite things not improving at all. However, towards the end of my messaging, a group of people that I had never even spoken to or seen online before accused me of a variety of things ranging from "displaying my sexuality to children" (note: all I ever did was name my horses "GAY". I never once talked about my own sexuality in-game, nor did I say the word in chat ever) to "joining the server to cause drama" to "mocking the lgbt community by throwing around the word gay" (actually I'll attach a picture of this one even though I don't want to put people on blast in this section just because its so funny).

I think most of this can be attributed to the game having gained such a notoriety that longtime players, especially those with strong nostalgic feelings, have become completely desensitized to it. And this compounds with the fact that the game is so niche it doesn't yet have a good alternative to turn to to create a toxic cocktail where people tell themselves that they have to be loyal to the staff to play this one of a kind game-- and that anyone who doesn't follow them just doesn't understand. It's really sad, honestly.

Part V. Conclusions

I don't necessarily think the devs of HI3 are legitimately consciously homophobic-- unfortunately LGBT rights are still controversial amongst the largely southern and rural population of horse enthusiasts, and I could understand if they felt it necessary to skim the line towards conservatism to maintain a userbase. It's cowardly and dumb but it's not a sin to do what you have to do to survive in a capitalistic hellscape as cutthroat as the game industry.

However, what I do think the devs are is power-hungry and hypocritical. They have failed at every turn at community management because they're unwilling to admit they make mistakes, instead choosing to issue non-apologies like "[we] regret you guys got so upset and did not realize neither our true intentions nor motivations nor the whole situation [that we said it's ok that a player has a shop called The Gulag because it's 'not direct or violent']". To respond this way to a userbase filled allegedly with young children as a fully grown adult with a wife and kids is laughably out of touch. 'Sorry your fee-fees were hurt by our adult moderator responding to a serious complaint about inappropriate user-generated content with "lol", but actually you just misunderstood us and we're going to ban anyone who brings this up again' is the sort of response you'd see from the teenage mod team of an Undertale amino, not the supposedly responsible head dev of a 'rare oasis of kid friendly content'.

Telling an audience of impressionable kids that the fact that their feelings are hurt is their fault for not intuiting the intentions of 40+ year old adults is unbelievably toxic, and it's no wonder why people are so nostalgia-bound to feverishly shut down criticism about the games. They've been guilt-tripped into believing the mod team can do no wrong and any controversy, even if valid, that springs up is just extrapolated by people that haven't been laboriously groomed to know what the mod team wants to hear.

Countless times throughout my time researching and playing the game, the number one advice I've heard has always been "suck up to the mods or they won't do anything for you". It's crystal clear that the moderators care more about the joy they get from having power over some 200 users who will kiss their ass if they say a buzzword more than they care about you, your child, or the game itself.

It's essentially a model scam Kickstarter's wet dream, a game propelled to release and popularity by its singular defining feature and left to fester on the shelf as the only game in its niche market. Because of this, I believe there's truly no better way to describe HI3, with its messy backend, refusal to improve, narcissistic moderators, broken features, poor visuals, and inefficiency than as the Yandere Simulator of horse games.

[discjude]

Yeah this is about right (as always my thoughts are in the tags so there's actually kei content there lmao)

[miodiodavinci]

good news!! i am 25% of the way done with the first draft of my portfolio!! (read: partway through like 50 pages of intensely jargon driven mini essays that are each evaluated by several arcane and strangely worded rubrics)

bad news!! the intense euphoria of nearly being at the point where i can Finally take a break and do what i want without the stress of deadlines hanging over me for the first time in nearly a year paired with the soul-crushing reality of needing to finish the remaining 75% of this project is giving me such intense waves of anxiety and nausea that it is actively preventing me from working on more of the project

[mbat]

i really wanted to try and write like, a thing explaining how i think steven universe future is one of the best portrayals (and my personal favorite) of mental illness in media, and how i think people misinterpreted it (me included at first, cause my experience over time has given me new perspectives) but i. AAA i literally dont even know if its necessary cause i dont know if people still think it was bad or a bad way to write steven (it wasnt!!) or like any of that, mostly cause. holy shit its just so obvious to me?

like i watch that show and i relate to him so much that i just understand it all and its so obvious to me and i dont know if other people find it. not obvious. like everything is right there in the text laid out i think

the main thing that i saw get misinterpreted when it aired was the second to last episode where steven turns into a fucking kaiju and everyone, again me included, thought that it felt rushed, but everytime i rewatch it i think... no it wasnt, actually. because we see it expecting a big fight or thinking it needs a whole lot to fix, but it doesnt. its not a fight, its someone having a mental breakdown and thinking theyre purely unlovable and evil, but being made to see that they are still lovable and arent evil even after all the bad theyve done, theyre loved unconditionally, and that other stuff mostly really doesnt matter (and hey, it can be fixed/dealt with later, its fine!)

its just my favorite show ever, specifically future! and i really wish other people would see what i see, but do i even need to try..? i didnt really write it very well anyway, but drafts exist for a reason. idk ive just been thinking about it a lot

TL;DR: i adore steven universe future and im wondering if anyone thinks its even necessary for it to be analyzed for people to maybe better understand it/do you think that there are enough people misunderstanding it that it needs a perspective to maybe help be more understood