#unlike most other patho endings which when considered outside of a vacuum would be really bad as things to happen to the real world

[indigo-constellation]

the Pathologic essay I wrote last year about why I think the Haruspex route Utopian ending is the overall best ending, I still stand by what I said however this somewhat structured essay holds less than half about how much I care about this ending.

also it is just canon LOL

In the game Pathologic there are three different routes, each corresponding to each healer. The story also has several endings, one for each of the bound (characters which as the name implies, are bound to their individual healer) as well as a bad ending if the player fails to find any sort of viable solution for the plague. This ability to choose the ending belonging to another healer is an incredibly telling one on the part of the characters, especially when it comes to the Haruspex, and his ability to choose the Utopian, and the Bachelor’s ending. This ending also works quite well when considering the wider narratives of the Haruspex’s route, including the future of the town, his role and sacrifice, and the metanarrative of the story.

In all three routes there lays quite a large weight on the future of the town, as of course it is the battle of the ending, of which vision of the town would become reality. The Haruspex’s bound is known as the Termites, a collection of children who learned from Isidor Burakh, Artemy Burakh’s father. Their ending is the one in which the Polyhedron is destroyed and the town stands, ready to be developed by a future generation. However, it is discovered in one of the other routes of the story, the Bachelor’s route (we will get to him later) that the source of the infection lies underneath the town, in the pockets of blood which have collected beneath. This means that the plague can never be fully defeated unless the town itself is destroyed, as the Polyhedron has already pierced the ground, meaning that there is no returning the plague to its dormant state, trapped underneath the earth. On the other hand, the other side of the river is entirely uninhibited, clean of the plague. This complete lack of prior development also means an ability to create a new town.

The new town built after the Utopian ending is one made, as the name implies, by the Utopians, however, the asymmetrical narrative changes depending on which healer is the one being currently played by the player, so following that logic, the endings would be influenced as well. This would hypothetically mean that the vision Capella has for the future of the town, one in which the Haruspex is a leader of the kin, and the town would be led by the children, could still find its place within the new town. There are also direct connections between the Utopians and Termites as well, such as Casper Kain, also known as Khan, of the termites, being a termite while also being part of the Kain family, which means that despite the rocky relationship amongst the family, he is still a heir to that power. Capella as well, is the sister of Vlad the younger, who at that point is the eldest Olgymsky remaining, and the projected leader of the town’s industry in the new town, she has also planned her engagement to Khan, meaning that she would then have a connection to Kain family as well. Apart from these direct connections, the entirety of the bound is important, each member, independent of faction, still able to impact the future of the town, and in order to achieve the Utopian ending in the Haruspex route both the Termites and Utopians must be fully healed. However these are the more hypothetical results of the ending, in the game itself the cutscene remains the same for whichever healer chooses the ending, which can imply the uniformness of the ending. However even though the Utopian ending described in differing routes can still serve the Haruspex well, the utopia described in the Bachelor route is explicitly stated to need the Earth, “…it's all about what's down below. It requires dirt. A ruby firmament needs something to sit atop-otherwise it'd topple.” This coincides well with the future Capella predicts, with the Haruspex taking his place as the foreman of the Abattoir, showing that there is, in fact, a place for the “earthly and the humane” in the new town. The connections described within the route, the needs of the utopia, and especially the influence of the Haruspex himself, would allow the Utopian ending to be a fitting future in the Haruspex route.

Another very present aspect of the Haurpsex’s route is that of his sacrifice, the idea that he must destroy, kill, something or someone in order for his ending to occur. This concept is mentioned a few times, however it is only fully explained by Katerina Saburova, “You will make a sacrifice. There will be rivers of blood, and that will be your doing.” While I can go into a whole other essay about the ideas of the sacrifice (and I do), we will for this essay’s sake, take the sacrifice as it’s surface level in pathologic classic, and how it’s implications mean that choosing the Utopian ending would have better long-term effects and also complete the Haruspex’s journey.

The Haruspex’s story follows a more classical hero’s journey rather than the Bachelor’s tragedy, with the abattoir symbolising the other world, and Oyun assigning the quite literal trials the Haruspex must go through. Once the Haruspex defeats the Foreman and becomes the new Foreman of the abattoir, however, he is still not respected by the butchers, who require a sacrifice from him. This duality of both the mistress’ prophecy and the requirement of the butchers also shines a light on the Haruspex in Pathologic Classic, someone who knows that he is of two worlds, however also a person who takes pride in both of them, and brings them together.

In the Termite ending the sacrifice is not fulfilled, the Haruspex is not allowed access to the blood, the plague looms as a remaining threat, and the Polyhedron still falls, for nothing.

Unlike in Pathologic 2, where the Polyhedron is quite literally piercing through the heart of the Earth, slowly killing her, in classic it is nowhere near that fatal, still harmful, but not fatal..  This important distinction is also important to make with the fact that while the blood would still seep out from the open wound if the tower were to fall, it would be limited, and would dry out at some point, while on the other hand, completing the sacrifice would allow the Haruspex access to the blood in the Earth, as the butchers would allow him to find the hidden reserves.

The sacrifice herself, Aglaya Lilich is someone already doomed by the powers that be, a doll loved by their mother and so hated by them, she dies in every ending but the Termites’. There is, of course, a point to be made about the theme of a woman having to die for a man’s journey is not a good one, and choosing this ending would feed into a harmful cliche, however, her death is something she herself understands, and although she urges the Haruspex not to make it, she acknowledges that she is meant to be the sacrifice, that choosing this choice will be enough, “If you lead him to victory, you may consider your sacrifice made. You return to the exultant butchers, triumphant.” Her death is not regarded as a simple shock factor to the end of the story, it is the pivotal choice the Haruspex must make. This is also shown in the Changeling route, where saving Aglaya is seen as an act of deceit, as even Clara’s ending, which saves the town, requires Aglaya to die, as Aglaya is a ‘queen’ an important piece on the board at the end of the game, her life only allows for the Termite ending, only allows for the Haruspex to lose his standing within the kin, and only allows for the sacrifice of the Polyhedron.

The Polyhedron is viewed as the sacrifice in the case that the Haruspex seeks to save Aglaya, however would it even work as one? The sacrifice needed is one of equal value to the Udurgh, the body that contains the world, and if the Utopian route is the one followed, the Udurgh is Simon Kain, and so the sacrifice must be someone who is more than human, and yet human. The Polyhedron, on the other hand, contains no human element, yet, it is the container for a human soul, a chimaera of living and nonliving, however in the Termite ending it is empty, and therefore cannot serve as sacrifice. Both Katerina and Capella’s opinions support the Bachelor’s argument in favour of the Polyhedron standing as well, Katerina outright claiming that “ I know for sure that you are to destroy a woman…” However, seeing that Katerina’s prophecies are often wrong, this statement must be taken with a pinch of salt. On the other hand, Capella clarifies that while Simon is merely a man in the current time, however, “Had Simon been reborn though, had he transferred his spirit to a new vessel-a body huge, perfect, and able to let others in... then he could have been called that.” Well, that rebirth, that new vessel she describes just so happens to match up incredibly well to the Polyhedron, this means that for the Udurgh to exist, for the Haruspex to fulfil his purpose, he must let the Polyhedron stand, must let Simon become the Udurgh. These ideas of sacrifice, of fate, and most importantly, of duty and purpose, greatly define the Haruspex’s story, and the Utopian ending is the only ending which gives it the needed satisfaction by its end.

All of the prior points about the town and the sacrifice have been made with the greatest levels of constraint I was able to amount, this paragraph, admittedly, will be much more personal, as the reasoning it presents was the initial reason for my appreciation of this ending. Simply saying, this paragraph will discuss this ending and the Haruspex’s connections, specifically the connection to the Bachelor. This entire essay could have been written only about this, specific subject, however, there was much more to be said about this ending. This paragraph will discuss the relationship between the Bachelor and the Haruspex (of course) as well as the metanarrative of Pathologic classic, especially when it comes to the ends and in considering the Bachelor route in comparison to the Haruspex one.

During the Bachelor run, there is not a single chance to access the abandoned workshop the Haruspex works in, even trying to teleport into the workshop will fail, This comes with the precedent that as the Bachelor, you will not meet the Haruspex until the fifth day, from which point on he is only truly present for days 5,8,9, and of course, day 12. This is of course, a great disservice and the Pathologic 2 route should really have more Haruspex in it, however on a less tangential point, it a great difference from the haruspex route, in which the Bachelor appears for almost every single day of the playthrough, The Bachelor is likely to be the character the player interacts with the most, and over the game the connection between the two characters grows over time, with the Bachelor switching to use Artemy Burakh’s first name. However this closeness between the two is present throughout the entirety of the route, from the very first line the Bachelor speaks to the Haruspex (We will get to that later) to even the descriptions of quests and locations which the Haruspex takes note of, even I was surprised at just how much there was between these two in my first playthrough. All that builds to the point in which these two characters, at the very least, care for one another, deeply enough that the Haruspex has multiple dialogue options which are explicitly supportive of the Utopian ending within his Cathedral discussion with the Bachelor, with all but two of the dialogue branches allowing him to ask the Bachelor for his advice, and only one serving as a direct rejection. And that is what choosing the Termites ending in the Haruspex route is, a rejection, all throughout the route the Bachelor will attempt to convince the Haruspex of the validity of his ending, and in the Haruspex route, the Utopian ending is incredibly tied to the Bachelor, to Daniil Dankovsy, with the implication that if tower, if the last remainder of his research will not survive, that neither will he. Much like Aglaya, his fate is tied to the aspect of the town he is bound to protect. The Bachelor, who, while still placed as more antagonistic, still has his choice, his option for the ending still weighed as equally as the Inquisitor’s, the story places them as equals, “Two diverging pairs of decisions. Both pre-determined…” Which also clarifies that the Utopian ending was never less free than the Termite one, as they are both pre-written, scripted.

This leads into another extremely important aspect of Pathologic Classic HD, the meta, not only can you be reminded twice per round that the story is not real, but multiple characters and scenarios note that this is still a game, still a story the player is playing a part of. A big part of the meta story is the fact that the town is in fact, a sandbox, and the characters are merely dolls. The Polyhedron is a water container which was stuck into the sand, and the water within it had caused a mold, causing the sand pest within the reality of the characters. Removing the tower would help nothing; the mold has already spread, the only option forward is to remove the sand, or play somewhere else, which is what the destruction of the town means, the Utopian ending is the only one which actually, truly addresses this.

Another very meta aspect of the story is the relationship between the Haruspex and Bachelor, which is seen in the very first line spoken from the Bachelor to the Haruspex. The order the game suggests the routes is to begin with Bachelor, continue to Haruspex, and end with Changeling, and viewing the story as one continuous thing in that order adds a lot of depth to the story, with, “ Yes... Far be it from me to call myself a person of mystical inclinations. However, when I look at you, I get the feeling that nature is playing jokes on us. It's as if both the left and the right hand have clutched the head to realise for the first time that they are two parts of a single whole.” The Bachelor quickly disarms the player, not only is this statement a clear representation of the fact that they are two parts of a single whole, they are all healers, all part of the role the player plays, but this line is just plain out not something to say to someone you just met. Dankovsky continues his, less than normal interactions towards the Haruspex throughout the route, to the point that two of them have the closest connection here than almost any other two characters in any route, to the point even the developers themselves reflect upon it in that same dialogue I mentioned before, “Two diverging pairs of decisions… And then, you see, there were also feelings involved... Love.” While this can be applied to Aglaya instead, in the context of the conversation, which is Clara asking the developers about the two other healers specifically, that simply would not make sense. There is a lot more textual and meta evidence about these two, but I am straying off course too much already and this paragraph is already very very long, so we will just move swiftly back to the actual point of the essay :) (BUT YES I COULD WRITE A WHOLE ENTIRE THING ABOUT HOW DANIIL IS WRITTEN AS A LOVE INTEREST IN THIS ROUTE)

Let us not forget, however, a reason as to why the Bachelor wishes to destroy the town, and that is that Daniil is incredibly petty and jealous of Aglaya, from the initial curiosity at their initial meeting, “...She was so impressed by your dignified demeanour … What did you tell her that touched her so much?” To the outright spiteful, “My dear Burakh, she is your sacrifice! I don't think it is at all necessary to slit her throat with your own knife … if the town is destroyed, the head of Aglaya Lilich will be separated from her shoulders in less than a day.” He also partially agrees with Artemy that he seeks to keep the Polyhedron out of spite. However one must take into consideration the Bachelor’s route, in which he is consistently used and betrayed, the biggest offender being the Inquisitor herself. The only person who does not do so is the Haruspex, so it makes sense he would do quite literally anything to keep that being the case.

The fact is, Daniil Dankovsky suffers, in almost every single ending he is not at a good place, all of the endings from his own route for one, as that route is quite literally a tragedy, as well as the fact that Eva is dead in it, that also goes for Changeling route endings, as well as the fact that in that route he is in general incapable of a happy ending, which only leaves the Haruspex’s route for him to have any possibility of contentment (sorry g boy) Immediately we can also rule out the Termite ending in the Haruspex route, and in the Humbles ending he is the only one without a place, the Haruspex, as the Foreman, would still have a role to play, but Daniil would not, her victory is also the least rational one, and therefore, the hardest one for him to agree with. That leaves, of course, one ending, the Haruspex route Utopian ending, in which the Bachelor is not left in misery.

Other than that, this ending, just like all endings in which the player picks the ending of the bound other than their healers’ is a direct victory over fate, over the ‘set’ ending for the route. The executor, the stand-in for the developers in the ending of the game says as much, “The only enemy, the only evil in this story, you see, is called Inevitability…” This also lends itself to the idea that the belief that there is only one ‘right’ ending for each healer, that they should only be considered by their bound’s choice, is a wrong one. This refusal of fate, refusal of the ending implied to be the ‘correct’ choice of the Haruspex since the very beginning of the game, is the ultimate victory of the player, and of the characters with them.

In almost all discussion of the Pathologic endings, the only possibilities considered are the ones given, each healer choosing their own bound’s end, but Pathologic is far more dynamic than that. The story is asymmetrical, and so are its endings, which is why Bachelor’s route Utopian ending is quite possibly the most tragic, hopeless one, and the Haruspex route one is the complete opposite. There is no ‘good’ ending, of course, no, that would be too simple, however, there are some which are clearly better than others, and due to the future of the town, the impact this has on the Haruspex’s story, and arguably most importantly, the meta and interconnected aspects of this ending, it can be considered as a good ending. It is a belief that the Utopian ending in any context, is a bad one, however, in the words of the Haruspex himself, “Any choice is right as long as it’s willed.”

[roguepythia]

Meta: Characterizations to Cling to

rose-for-dead-alice replied to your post “Honestly though, I was a hardcore Spuffy shipper. S6 wrecked our shit...”

                       Honestly yeah as much as I kind of hate the loss of a potential canon gay romance on a hit TV show....At least it isn't like what Buffy did with that attempted rape scene, Buffy got way too sexual and I always felt so violated by that part of the show.                    

So many people felt the same! And “violated” is the perfect word choice too. It’s exactly how the entire fandom felt.

Putting this under a read more as I meta about Spuffy and Nygmobblepot characterizations, world-breaking, and fandom/show relationships. It’s a long one people, grab a snack first. 

BtVS S6 just got so dark, dealing with themes like self-hate and using sex as self-punishment. They had spent the entire season completely objectifying Spike and turning him into basically a giant sex toy. And made it seem all “a-okay” to do cause he’d had his own sex toy for awhile in the Buffybot. Plus, Buffy was the “hero” so she “couldn’t” do any wrong. It was all Spike’s fault that he was willing to put up with it. Either because he loved her so much he was willing to take on her pain or he was a monster that couldn’t tell the difference between love and self-hate therefore didn’t think she was doing anything wrong. Considering his keen ability to see through the bullshit my take was the first. He knew she was hurting and wanted to take that pain from her, if he got his leg over in the process so much the better for him.

And then they pulled the rug out from under us when all of sudden he attacks her. They completely ignore all of their world-building to make him out to be the bad guy that can’t see where the line is, when she’s been crossing it all season. Even though at his most evil self he had limits. And then it’s been proven that Buffy is 10x more powerful than Spike but because she got a little banged up earlier that night, all of a sudden he can overpower her? It was also so completely out of character for both of them. Buffy the “hit first, ask questions later” Slayer begging Spike “Love’s Bitch” to stop rather than just kicking him through the wall. Which she can do as she’s a Slayer. Which leads me to my next point.

The audience reaction. They didn’t make this show in a vacuum. There was an audience and a large fanbase. As a college-aged young woman watching this show, I identified with Buffy. She was for my generation what Wonder Woman is now to this one. We looked up to her. She fought the good fight. She stood up to right the wrongs of the “demons” that tried to take her power. She was a metaphor for girls to say to themselves, “I matter. I have power. I have a voice!” So of course when she gets attacked like that, by someone who claims to love her, we all feel attacked as well.

And the Spike fans were doubly betrayed. We identified with Buffy and Spike. The Heroine and the Outsider. They had been such a powerful team and Spike was on his redemption journey already. He spent the entire summer being The Protector to her younger sister and asked for nothing in return except for someone to buy him Wheetabix every once in awhile. Yes, he was still a demon but he was fighting his nature to be something better than himself. Even without a soul he was still trying. That character development was completely destroyed in one scene. The only way to reconcile what happened was to headcanon that even Spike was so appalled by his own behavior that he sought his soul. He basically said, “THIS ISN’T WHO I AM! Screw this, I’m outta here.” Which as noted by the below, might have been their plan.

The following quotes are from the wiki page on this ep and very enlightening as apparently the scene was shot in such a way as to evoke sympathy for Spike....while he was attempting to rape Buffy. Let that sink in.

In the DVD commentary, James Marsters said that filming the scene in which Spike attempts to rape Buffy was one of the hardest he ever had to do. He has since said that he will never do such a scene again. That scene has also generated controversy between fans and the writers,[2] but writer Jane Espenson says that moment was necessary to set up a powerful motivation for Spike's quest to gain a soul.[3] As James Marsters points out, "How do you motivate him [to] make a mistake that’s so heart-rending that he’d be willing to do that?"[4]

Marsters would later say in 2012 that he understood the idea to have come from "a female writer, [who] had a situation in her life where she was and her boyfriend were breaking up and she decided if she just made love to him one more time, that they wouldn't break up. She ended up trying to force herself on him and decided to write about that. The thing is, if you flip it and make it a man forcing himself on a woman, I believe it becomes a whole different thing... I'm not really sure it expressed what the author was intending and on that score it was not successful." [5]

In her essay on sex and violence in Buffy the Vampire Slayer, Gwyn Symonds calls the scene itself "technically and emotionally intricate" in that, unlike most depictions of attempted rape, it "encourages a complex audience engagement with both... the perpetrator and the victim."[6] The action was "very carefully choreographed" according to James Marsters,[4] with the camera alternating between close-ups of Buffy and Spike separately to reinforce the audience's shifting empathy with both Buffy and Spike.[6] Writer Rebecca Rand Kirshner agrees that the viewer "could feel how [Spike's] very innards were twisted into this perversion of what he wanted," and she found that experiencing the scene from his perspective was additionally disturbing.[7]

The above makes it clear that the most egregious crime of that scene was against the fans. Not only was it bad decision making on several levels to portray an attacker as a victim but to also believe that you can swap genders in such a scene without a problem. But the most obscene aspect of all, is the world-breaking. In the Buffyverse, Spike is a Demon. Buffy is a Slayer. They are NOT HUMAN. They don’t live by human rules. But the fans are human and we do live in a sometimes ugly, cruel world. By making these supernatural creatures act within human boundaries, the analogies were broken. It was no longer a metaphor. This brought a show that wasn’t just steeped in supernatural elements but solidly based in them, kicking and screaming into the “real world”.

The fandom reacted. All of a sudden fans were labeled “rape apologists” or had to relive the most harrowing moments of their lives to explain how deeply the show had hurt them. Sometimes both. I don’t think the show or the fandom ever recovered. It was a breech of trust that the show writers could never mend.

Even now as writers for the show head other projects, BtVS fans know who they are and what they’ve done. When I found out  Steven S. DeKnight was taking over directing duties for Del Toro on Pacific Rim 2, I wanted to barf. Now the story I love about all of humanity coming together to fight a common foe; full of love and pathos, resolute in its determination to never give up, to go down swinging, to stand up and maybe even pay the ultimate sacrifice to protect those that cannot..... “Today we are cancelling the apocalypse!“ Now it’s in his hands. It’s now going to take a dark and twisted turn full of some type of self loathing and hatred, I’m sure of it. Ug. Fifteen years later and I’m still so appalled at how all this went down.

And if anyone is still reading this long essay at this point, (you get a virtual cookie) but I guess you’re wondering how this all relates to Nygmobblepot. Well, my main point of contention about the above is that they took the characters out of their world. They took supernatural creatures and made them act as if they were human. It wasn’t just that it was OOC for both characters, it wasn’t BtVS either.

The Nygmobblepot and Gotham fandoms are “alive”. Our feelings about the show, the characters, and the fandom itself shift with each new piece of content we receive. And unfortunately, we receive this content in a lot more ways now.  

When BtVS was around, we didn’t have “social media”. Facebook didn’t even exist until one year after BtVS concluded. There wasn’t a twitter page dangling our ship in front of us with colored hearts and cute images or coy phrases. There was an on-line presence, yes, but fans only really interacted with fans and fansites. We didn’t have a direct line to the creators and/or actors on the show on a daily basis like we do now. And maybe we were better off? It is a double edged sword. We can now make our voices heard so much easier but then we are subjected to constant pandering to get “all eyes focused here!!” so advertisers can rake in the money every time we click on a site.

But that isn’t part of the show itself. It’s not. It’s the social media arm run by the PR department, whose job it is to generate buzz and a “click this!!” mentality. And it works! Every time we get sucked in and think something said on those sites will have some correlation to what happens on the show. And that’s not the case. We don’t even know if the PR team knows what will happen in the episodes before they post. For all we know, they have no clue. Somehow we’ve forgotten they are two separate things and the creators need to be reminded of this as well. Because looking back through the social media posts is painful. And it didn’t need to be that way.  

The show itself has actually managed to do the one thing that BtVS could not, and that is to keep their world in tact. After everything that has happened to Oz and Ed, through it all, they have remained in character. The world hasn’t shifted out from under them, nor us. They are still who they’ve always been at their core. Even Ed, who is searching for his identify, has been handled in a way that stays true to his Gotham characterization.

There is a lot that can be said about how the story unfolded and how it didn’t go the way we wanted. Many sectors of the fandom are legitimately angry. Many of us, myself included, were casual viewers until this ship jumped off the screen at us. And it wasn’t social media that sucked us in. It was Robin and Cory’s portrayal of these two broken, damaged villains finding each other that spoke to us. Knowing that even if you are “irredeemable”, there is still someone out there for you. That there truly is a “lid for every pot”. It was that connection we fell in love with, romance or not. And now this beautiful friendship seems to have been ruined for little to no payoff. But at least the story line still all made some kind of sense. I think I’ll be more upset at this point over a lack of explanation for Isabella than anything else.

And the reason why, is that the show hasn’t broken my trust. Their social media PR team can kiss my ass. But the show stayed true to itself and therefore us. It made Oswald canonically gay but never made him into someone he’s not nor made him do things he’d never conceive of. And poor Edward, who falls so easily and simply can’t help himself at times, continued his decent into madness and villainy. Oswald and Edward remained Oswald and Edward, much to Ed’s consternation.

The show makes it clear that this isn’t “the real world” pretty much on an episodic basis. “This is Gotham” isn’t just a catchphrase, it’s a way of life for these characters. It’s how the show is able to make us care about serial killers and psychopaths that we would run from if we met in “the real world”. Their world is filled with color and flair and the characters continue to reflect that. For all of the show’s purported faults in the story line this season, failure to understand their characterizations isn’t one of them. They have not committed the ultimate sin. At least not yet, not in my eyes. I guess we will see what the finale and S4 holds for us.