#STP systems

[3daqua]

MBR vs. MBBR: Which Sewage Treatment Plant (STP) is Right for You?

When it comes to wastewater treatment, selecting the right Sewage Treatment Plant (STP) is crucial for maintaining environmental standards, meeting regulatory compliance, and ensuring long-term sustainability. In India, the Pollution Control Board (PCB) has set clear guidelines for water treatment practices, prompting industries and municipalities to adopt efficient technologies. Among the…

[ginumo]

Welcome to the stp fandom! I adore the way you draw the Long Quiet.

Can we get your interpretation of a voice? Maybe Hero or Cold?

tried my hand at both!!! this took way longer than i thought itd take EUFHEJDHUEDH

The Narrator — The Hunted + The Opportunist — The Long Quiet

(I have requests open!)

[newquestion]

school time feels a bit of a drag, isn't it?

prev | next

Behind the scenes under the cut! (includes notice)

Yes, I'll probably not draw The Voices completely separate from TLQ. While it's a neat idea, I personally like the idea of them sticking to TLQ. Unless something like HEA or PatD happens lmao. But they do have tiny visible traits to differentiate them. Maybe big in Stubborn's case, eventually. sowwy if you can't see them immediately ☆(・ω<)

Also about that notice? IIIIIIIIIII may or may not be able to make a new comic in a while, only because I need to do some commissions.

also also. newquestion is always small caps. ;)

thanks for reading!

[sophieinwonderland]

The objectively best way to respond to fakeclaimers:

"There are no words that can describe me into nonexistence. There is no logic that can bind my multitudes"

[delphientropy]

slay the princess is SOOO did system core its actually genuinely so interesting

yeah you gotta do a task and the Voices In Your Head™️ start bickering and talking and sometimes its quiet and other times its so deafeningly loud and when other people realise that you have voices in your head they go "thats not normal, what do you mean you hear voices?"

one voice argues "no im not some shard of glass. im. im me."

another whispers a mantra "heart. lungs. liver. nerves."

one is optimistic

one is angry

one is cold

one is in love

one is paranoid

the shards of glass thing immediately reminded me of how systems are seen as a fragmented mind like???

[writingdevil]

Hello there! Just wanted to drop by and say that your writing is very lovely! I loveee how you characterize everyone and the way you write is very compelling! <3

As for a request, anything with Paranoid will do! Buuut it's alright if not! I just really wanted to say that your writing is peak. Thank you for your time, oh great sage of stories!

(Thank you!! You're very sweet!! Also, you've given me the perfect chance to write about a ship that's grown on me- parastubb, so I hope you enjoy this ship!)

Stubborn's realised something as of late.

He usually doesn't dig too deep into things, more concerned with the heat of the moment and chasing thrills whenever he could.

But after enough times of it happening, even Stubborn couldn't be blind to it any longer.

Stubborn's a big guy. He knows it, the flock knows it- he's one of the biggest and strongest members of the flock.

That often meant that he was the one doing the heavy lifting or the fighting whenever a princess decided to test them, which Stubborn was more than happy to do.

Stubborn- liked being a protector. He liked knowing that he could keep his flock safe and happy. The fact that they all could turn to Stubborn to get stuff done and know that he could accomplish it- it just made him feel nice, for some reason.

He will admit, he can be a bit aggressive when it comes to verbal fights or heated arguments within the flock. It was one type of fight that Stubborn couldn't punch his way out of, but he sure as shit was going to try.

But because he's so zoned in on the arguing, he hadn't actually realised the other thing he had started to do.

Sometimes, when arguing got too out of hand, and voices were booming around the room, Stubborn would be engulfed in frustration and petty anger, and then someone would randomly snap their arms out in a wild gesture- and then Stubborn would hear someone yelp and rush behind his body for protection.

Stubborn didn't know when it started. He's no stranger to being protective of his flockmates. He's lost count of the amount of times he would carry Broken to bed, or drag Contrarian away from a dangerous stunt at two a.m. Stubborn wouldn't let them be idiots and get themselves killed.

But this was different.

The first few times it happened, feeling someone tremble and clutch at his back feathers, he actually thought it had been Hunted, who wasn't a fan of noisy environments in general, but Hunted would always rub his forehead or bury his face into Stubborn's feathers to feel safe, and he hadn't felt that in those moments during the arguments.

But then one time, he heard a yelp from behind as someone shouted, and the undeniable sound of, "Heart, lungs, liver, nerves."

It had been Paranoid hiding behind him.

That hadn't been too much of a surprise. Paranoid was a jumpy bird after all. But what surprised Stubborn was how much Paranoid rushed to him for protection.

He did it every time.

Paranoid was jumpy, but he was also argumentative- he wasn't one to back down from a fight either.

Stubborn confronted him about it one day. He caught him alone on night and just asked, "What's up with you? Usually you're always snapping at the others for being fucking idiots."

Paranoid had flushed, all his thin feathers fluffing up, and Stubborn actually thought he looked kind of cute with his feathers all standing up like that.

Paranoid avoided eye contact, staring at the ground as he stuttered, and Stubborn knew better than to snap at him, so he waited, until Paranoid eventually managed to get out, "Everything gets too much sometimes. Too much thinking,too much feeling, too much shouting- it all just makes me want to shut down."

"But I don't want to leave," Paranoid explained. "I don't want to run away while everyone else fights for the flock. I want to stay."

Then Paranoid finally met his eyes, and Stubborn's breath hitched at the fire he saw in them.

He looked beautiful.

"Being behind you makes me feel safe and it makes me feel brave at the same time. You're such a brave and confident guy that it just- blocks out all the noise and fears, and it makes me feel strong in return."

Stubborn wasn't sure why, but hearing that he made Paranoid want to be braver, made something light flutter within his chest. It was different than a rush of adrenaline or the thrill of a battle. It was somehow softer, but more powerful.

Stubborn said he could keep hiding behind him.

So that was how it went for awhile- whenever the flock inevitably had another fight, Paranoid would get overwhelmed and rush behind Stubborn, and then would work up the courage to argue from the safety of Stubborn's body.

It felt nice- comforting even- to feel Paranoid's body behind him, to know that he was there and safe behind Stubborn, and hear his voice loud and strong amongst all the other racket.

Paranoid was a different type of strength, and everytime Stubborn felt his palm flat against his back, it somehow felt like it was grounding Stubborn. He couldn't explain it, but he liked it.

Then he realised that he might've liked it too much.

One day, they were all having a fight about something that Stubborn couldn't have cared less about, so he just zoned out, arms crossed and focusing on the feeling of Paranoid pressing up against his back, when he suddenly caught a few words aimed at Paranoid.

He tuned back into the conversation, just as he heard someone say to Paranoid, "You can't do much either! All you do is not trust anything and-"

Suddenly, Stubborn had heard enough in that moment.

A rage that felt entirely new in that moment overtook him, and Stubborn growled and bore his teeth out at the crowd around them, snapping an arm and a wing out to fully shield Paranoid from their verbal onslaught.

The words were pouring out of him before he even had time to process them, "Don't fucking say that shit about Para! He's stronger than any of you spineless idiots just by saying a few words! I'd like to see you all try and take him on!"

Silence- enough for Stubborn to realise what he had just said, and for his face to heat up.

But the thing that really sent his mind into a frenzy was feeling Paranoid practically hugging him with his warm face pressed against his backside, right inbetween his wings.

Stubborn had no idea what to do, but then he saw Hero give him a soft smile and direct the conversation away from them.

As soon as the conversation ended, Stubborn felt a burning need to be close to Paranoid, to bask in his quiet strength and never leave him alone again. His head was spinning with many desires, and Stubborn wanted to satisfy them all, and Stubborn's always been greedy.

He met Paranoid right where he had first confronted him- pacing up and down the hallway of their bedrooms.

It was little awkward, he'll admit, having to lean down and mumble sorry to Paranoid for embarrassing him in front of the flock like that.

But then he heard Paranoid giggle- a sweet, light, and carefree sound- and then he felt a hand cup his cheek, and Stubborn found the courage to look at Paranoid's face, to find him smiling, so soft and loving and nervous- and when he leaned up onto his tiptoes to press a kiss to his cheek, Stubborn felt his knees buckle.

Instinctively, Stubborn's arms reached forward, and his hands settled on Paranoid's hips tentatively.

Paranoid leaned back, and their gazes lingered on one another, and then Paranoid whispered, "Thank you for being the courage I need."

Stubborn chuckled, the sound coming out breathless, and he grinned, their lips grazing, as he replied, "Trust me, you're braver than fucking any of us, sweetheart."

He heard Paranoid's breath hitch, and then their eyes met- and it felt like a jolt of lightning coursing through Stubborn's veins, and this was one thrill that he hoped never faded away.

They both leaned in, and their lips pressed together so softly, so gently, and it sent Stubborn's mind spinning, almost moaning instantly at the feeling.

Soon though, they grew hungrier, and the kiss deepened, with Paranoid wrapping his arms around Stubborn's neck, and Stubborn lifting Paranoid up while wrapping his arms around his waist, and Stubborn wanted to chase this high forever.

They could be each other's strength, Stubborn decided.

[ren-054]

Slay The Royal 🔪🔪🔪 (self insert au featuring my system!!)

Or should I say this royal slayyys— *dies*

[everestgale]

It was in your nature.

Warning for blood, murder, a hefty dose of OOC, and voice shipping (more Skeptunist). You've been warned :]

[Extra notes & details are under the cut]

I put way too much thought and detail into this silly comic. I put some of them in the alt text, if you’re curious :]

This was very much inspired by @/phantasmatoucan (mod Owl)’s recent CheatedOppy comic (go check it out if you haven’t! though check the warnings in tags), after seeing it, I could not get the idea of Opportunist screwing himself over out of my head… and what’s the better way to do that than to doom one of my favorite ships <3

Also, if you are curious what kind of situation would have led to this comic in the first place… if you’ve read @/writingdevil’s Skeptunist fic that I can’t stop recommending, you might recognize this passage from it:

“Skeptic was waiting for the moment that Oppy dismissed him, that he regarded him and Smitten as a threat to his safety now, and distanced himself from them.”

…yes, I took inspiration from it. This comic is essentially a bad ending scenario, where Skeptic tries to understand Opportunist better and get closer to him, but Opportunist is too defensive and too stuck in the cycle of betrayal to see that Skeptic’s motives don’t have any malice behind them. It was in his nature, after all :]

[moonpool-system]

Plurality in Slay the Princess: Part 1

[pt: Plurality in Slay the Princess: Part 1]

Imagine you're standing facing the unknown, and then a little internal voice begins narrating everything you see.

[The Narrator] "You're on a path in the woods. And at the end of that path, is a cabin. And in the basement of that cabin, is a princess. You're here to slay her; if you don't, it will be the end of the world."

He seems pretty biased.

One of the best indie games to come out in 2023 was Slay the Princess, an indie horror/romance visual novel featuring your player character and the being he's meant to slay, known simply as The Princess. However, you're not alone, in more ways than one- both your player character and the Princess display clear aspects of plurality - aka, multiple identities residing within/utilizing a singular physical body. This can take many forms in real life, from disordered to non-disordered variants, and a good few of them are prominently recognized in this visceral narrative experience.

After the read-more will be some spoilers from the various choices you can make throughout the early game- so while this is part 1, there will be no endgame spoilers yet! It'll start off with Chapter 1 and go deeper from there. If you're intending on playing the game, we HIGHLY recommend you play only after reading Chapter 1 information, or only after this part 1 at most! It's best experienced blind as possible, and trigger warnings are present upon opening the game. This analysis took a while to write, so please consider reblogging if you enjoy!

...

Right from the beginning, the plural undertones of the story are clearly apparent. Once the Narrator stops speaking, you as the one controlling the body are able to communicate by asking various questions directly to the Narrator to press upon, enthuse over, or counter his point. The Narrator is speaking to you mentally, but is not you.

If you continue on the path to the cabin, you're presented with someone else speaking to you internally, titled as "The Voice of the Hero". The Narrator quickly responds with "Ignore him. He doesn't know what he's talking about." This situation tells us a lot of interesting things! First off, the Hero defers to the pronoun "we" - as he's clearly responding to the Narrator's direction, the other individual in this situation must be the controller of the body. The Narrator reinforces this concept by talking directly to you, telling you to ignore the Hero. So right off the bat, there are three people in this body- the Host, whom is being controlled by the player, the Narrator, and the Voice of the Hero. They stay with you throughout (most of) the entire game, so even without much happening, the main character is very blatantly plural. The only thing we can tell about them so far is that they're a polyconscious system, wherein each member displays their own individual consciousnesses rather than sharing one, and can all perceive the world using separate streams of thought.

Let's say you head to the cabin, speak to the Princess, and don't even bother taking the pristine blade meant to slay her, as you're intent on saving her. You speak to her with options using "quotation marks" to indicate vocal speech rather than how you've been thinking to the other members of your system, and you free her from her bindings. Just as you're walking up the stairs, the Narrator decides to try and impose his decision instead, and save the world by using the arm of the body to raise the blade to her. Being in control of the body as a plural/system is called fronting, and oftentimes in intense circumstances, one member can "take" the front from another. This is what we see in the desperate Narrator, and the fact that the Hero expresses his frustration at the Narrator's actions at the same time indicates once again that the members of this system are polyconscious.

You resist the Narrator and warn the Princess, and she also notices and addresses the sudden shift in motivation. She then takes the blade, and uses it haplessly against you in self defense. Such is this end of Chapter 1; everything goes dark, and you die.

!!! CHAPTER 2+ SPOILERS BEGIN HERE !!!

[pt: !!! Chapter 2+ spoilers begin here !!!]

Chapter 2 is titled "The Damsel". When everything loads, you're back where you were before- the Narrator doesn't seem to remember you or what happened, but you and the Hero clearly do.

Not only that, but another character has joined the mix since your supposed death- The Voice of the Smitten loudly proclaims his love for the Princess and hatred for the Narrator. Plus, he says something unique- he mentioned "the four of us" foiling the Narrator's "assassination attempts". This four includes the Princess, the Smitten, the Hero, and the Host/player, establishing how everyone here perceives the others as separate entities. Plus, now that naming consistency with the others established, the Narrator, not labeled as a "voice", starts to stand out as something... Different, from the rest of you all.

But it's not just you that's changed; everything within the cabin looks different, and it's not only that.

The Princess has metamorphosized; the Damsel wears a new dress and crown, has a much more gentle and delicate disposition, and her voice sounds significantly higher pitched and kinder. Not only that, but her bone structure is physically thinner, as is addressed later in the route. She has inarguably become different in not only personality but appearance too. Additionally, while she recognizes you and your earlier confrontation, she uses the pronoun "I" to refer to both herself as the Damsel and herself as the Princess before. This is indicative of monoconscious systems, where members share an individual consciousness/train of thought and switching involves the feeling of one member "becoming" another in a smooth transition, and median systems, where members often feel like facets of an overarching identity rather than completely separate entities. We see more evidence to medianhood after the two of you escape, and the Damsel seems to be taken away by... Something. You find yourself presented with the Entity holding her gingerly.

"Something finds me in the Long Quiet and brings me the gift of a fragile vessel."

She cradles her and describes the vessels as "nerves and fibers to feel the worlds beyond. Perspectives to make my own", and the Damsel as "soft and delicate. You molded her to love you, and she'll make for a gentle heart." She words it as if they are the same, and yet different at the same time. You ask if she is the Princess, and she says this;

upon pressuring, she states that you're speaking in circles. "Does it matter where one thing begins and another ends?" This once again supports the fluid concept of median plurality. She is different, and yet she is the same. It's hard to tell the lines between one and the other, even though they both still distinctly exist. She asks you to "bring [her] more perspectives so [she] may be whole", wishing for the facets of herself to be returned to her via completing different routes of the game. Interestingly enough, it seems the Entity displays polyconsciousness during these segments, unlike the in-loop Princesses. In another route she mentions the Princess having a will pushing against her own, and at the end of your conversation she mentions one last thing;

You're flung back to the beginning, with only the Hero and the Narrator at your side, and not a single memory ingame of what happened. You can't re-access old routes, so you have to choose to do something different the next time, to bring different parts of herself home to her.

There are many different routes you can end up on, and the Princess will change in many different ways depending on your decisions. Let's go over some interesting notes on how the two's plurality presents over the course of the time loops.

- The Princess seems to be completely monoconscious when within the loops, sometimes acknowledging herself as different but never referring to her other facets as a separate perspective ("I/me", never "she" like the Entity refers to her vessels.) This rule is only broken by the Stranger route whom, where due to the world literally fracturing, had multiple perspectives shoved into a single one, and she refers to herselves as "we".

- The origin of new facets of the Princess seems to correlate directly with the reset of the world they're in, and we never see her looping forms change otherwise, meaning we can likely assume this to be their origin. While time loops aren't recorded to have happened in this universe, we can safely attribute some sort of metagenic origin to the Princess's median facets. The only other time we see her "change" other than after a reset is her disposition & voice upon the first time meeting her, depending on whether or not we take the pristine blade. This displays that the player character's actions directly affect the Princess's facets as well, however delving into that would get into endgame spoilers, so it'll be touched on in part 2.

- Due to the lack of evident amnesia, distress, or disorder expressed to be caused by her plurality (aside from the Stranger) it's safe to assume the Princess falls under the category of systems/plurals without a dissociative disorder such as DID, P-DID, OSDD1, and UDD.

- On the flipside, the Player's system shows quite a lot of distress and disorder, from the Broken and the Smitten attempting to kill the body to the Cold eager to harm it, as well as many different system members with specific jobs meant to help counteract or ease the negative circumstances of the previous loop. Additionally, during the Moment of Clarity chapter, the Host explicitly experiences amnesia of traumatic memories the other members remember everyone experiencing, displaying dissociative amnesia. It's likely this system falls under the category of plurals with a dissociative disorder such as DID, P-DID, OSDD1, and UDD.

- Many speculate the members of the Player character's system to be your past lives or iterations of you after your death, since for the most part, a new one appears every time the body dies. This would be known as a fenigenic/phoenigenic origin. However, there are a couple instances where this theory falls apart- for example, in the No Way Out route, the Player, Hero, Narrator, and Cheated are joined by both the Voice of the Contrarian and the Voice of the Broken at the same time; right after, the Hero states that this is your third time, meaning if the past life theory is true, there should be only two new members, not three. (The line between alive and dead gets fuzzy later in the route, but this one is cut and dry.) Instead, I propose the Player's system to be an adaptive system, ending up with new members whenever they must adapt their mindset drastically to the situation. The new members often tend to be a reflection of the body's actions during the last loop, which supports this concept as well.

- Routes such as No Way Out and The Adversary complicate these assessments. In No Way Out, every time you die you try something different, which results in a new system member every time. In The Adversary, you fight over and over again with the same determination, and The Stubborn remains as the only new member from the beginning the entire time. However, in both of these routes, the Princess stops changing form at all. Evidence once again shows itself that the Player Character's perception not only affects what the Princess will be, but what the results of his own changes will be as well.

- Another differentiation between you, the "voices", and the Narrator, aside from his lack of memory between loops and insistence that he's not the same person as other versions of him, is how they both treat and experience the Mirror. The Narrator is notably distinct in that he cannot see it during regular gameplay, and that once the world is replaced with it at the end of a route, he's no longer existent to perceive it. The ones labeled "voices" are able to see it and fear it instinctively- while they're different from the Narrator, even they disappear when you look in the mirror and speak to the Entity. Hypothetically, this could mean that you are to the Voices' perspectives as the Entity is to the Princess's. The Entity mentions that nothing but you and her come to the space where you speak.

- Upon meeting the Entity after the third time you bring her a vessel, she greets you with this line; "I am a growing chorus of contradiction. A mass of tides ebbing and flowing all at once in more directions than my attention can bear to hold. To look at any one is to shift them all into something new, and to look away is to reshape them yet again. All of me is changing, and yet the rest is still the same." This is an interesting perspective into her relationship with the vessels and how her overarching identity is affected by her medianhood.

- A case that deserves special mentioning is the route of the Spectre, after killing the Princess without hesitation in chapter 1 and then proceeding to kill yourself after. In Chapter 2, you're then presented with the option to let the Spectre possess you temporarily, giving her not only access to your body, but to your mind. For a brief while, she can hear and interact with all the others currently present with you- at the time, the Narrator, the Voice of the Hero, and the Voice of the Cold. Once she's within you, the Narrator can't even get out a full sentence before she comments, "So this is what it's like to be you, huh? Disembodied voice narrating your every move?" She addresses the Voices differently than the Narrator; "All these shards of broken glass on the floor... Are they also supposed to be you?" The Hero takes initial offense at this, saying that "I'm me, is what I am." The conversation continues to the Hero questioning the Narrator's existence, to which he responds, "You don't need to know what I am. You just need to know that I'm different than you. More important."

To this, the Princess answers, "So you're the one that pulled the strings and made me dead. I can tell you don't belong here. You're barely even there. Like the shape of something left behind. You're more of a... Memory, than a person." And then, "You're kind of like me, actually." What does she mean by that? Is he like a ghost? Something else? It'll be addressed in part 2, but clearly he's different from the rest.

- One of the most affirming dialogue options you can have with the Entity is after the fourth time you bring a Vessel to her, where you both speak about how your systems operate. You can ask her, "When you send me back, I'm not alone. There are voices that speak to me. Some of them are me, but one of them is something else. I call him The Narrator, and he wants me to kill you. Do you have a Narrator? Have the Vessels had one?" This is yet another hint that the Narrator is fundamentally different than the rest of the Player's system, making it clear that together they make up a mixed origin system. In response to your question, the Entity responds with this:

From this we get a few things. For one, the Princesses are referred to in the plural sense ("their minds"), enforcing the separation between them. However, she goes on to describe them existing and constantly metamorphosising into something new, basically confirming the concept of monoconsciousness within the Princesses themselves.

....

From all this, we've drawn a lot of conclusions about the plurality of the Player character and the Princess/Entity from Slay the Princess! Such depth of plural experiences is extremely rare in any media, and this one exemplifies it very well, balancing both personhood and parts-based conceptualizations in its depiction. In part 2 we'll go over how the endgame and its philosophy applies to these concepts, as well as the revelations about the characters involved. It's wonderful to have such vibrant and unique plural representation in a video game; thank you for reading this disambiguation!

[miyuka1709]

Good afternoon!...

Anyway here's a cute little Cold, and some pen-tasting.

Pretty great stuff.

(There's a pretty long rant ahead about an STP swap AU!!!!!)

I think it's so interesting that there are 5 very different Princesses in the Stranger; I heard from somewhere that their names are The Hopeless, The Sinister, The Snide, The Kind, The Blank.

I imagine it'd be fun if a swap AU implemented those Princesses as "bases" based on the first thing the player says upon being told about the cabin and the Monster.

I mean Voice of the Sinister could be like Nightmare and Tower. She might appear when you first say the "Sweet I've always wanted to off a monarch!" Dialogue in the base game? It'd just be "I've always wanted to off someone!" Instead maybe cause TLQ isn't a monarch and it's definitely pretty sinister to just outright say that.

Voice of the Snide would be like Prisoner/Sharp Princess. Could be a "Why would I listen to you?" "Have you ever considered that I'd be okay with the world ending?" defiant type voice.

Voice of the Kind is obviously Damsel/Soft Princess. "What if he's going to end the world BECAUSE he's locked up?" Or smtg like that, morality talk and whatnot.

Voice of the Hopeless could just be.. Broken? But a girl, I guess? I'm not sure what she'd say but it's something that Broken would say - like "What's the point of doing this? The world will end one day anyway."

They sound so cool and I'm sure anyone can work with that, but Blank Princess? That could probably happen if we outright try to leave like in Stranger so the Monster can't perceive us.

But what would she say? Would she act or speak like Cold? She'd generally have minimal opinions, wouldn't she? Would having her even change anything? Would she be completely pliable or changeable? Would she be like Opportunist, but sincerely ever-changing and not just for self reason? Is she just a shell and says things just for the sake of it like Deconstructed Damsel? Would she just follow along the Princess as the main character and mirror her actions? Would she be as moldable as we (Princess) are to TLQ?

Again, I think the "Base Princesses" might work really funny if they were a byproduct of SOLELY your first ever choice in the narrative, and it sticks, and they act like Voice of the Hero who accompanies you throughout the entire run.

So instead of having different TLQs, you get different You's at the final Heart scene? That's a pretty funny concept to think about - but it sounds like it'd be painful to work with in a game because you'd have to make all the routes compatible with each of the 5 Base Princesses and make it not feel too clunky or too different.

I'd honestly want to write or plan a whole thing with this kind of story, the only problem is I don't know how to make the Narrator want to kill TLQ.

The Echo's literal purpose is to get rid of change and death with it while leaving a sliver of TSM in TLQ so the world could still move along and people could have lives that aren't completely stagnant and devoid of growth and change.

Would this swap-Echo's job be to protect TLQ and tell the Princess/Player to save him? Or would His view change entirely so He'd oppose TLQ by saying"The world will be doomed to eternal stagnancy"?, instead of death, would he be afraid of the constant and stillness? Why would he want to rid the world of it specifically? I'm really not sure.

Just a little idea I had, y'know!.. phew, I didn't mean to write a whole thing but yeahh..

[canonicallyplural]

Both the Player and the Princess from Slay the Princess are systems, and at one point were part of a bigger one.

[ginumo]

its time to return to an age old tradition for whenever id join a new fandom . im opening requests for Slay the Princess!!!

my anons are enabled!!!

this will be a good opportunity for me to practice drawing everyone and to try settling on my own takes designwise!!! so im open to all kinds of characters

i can draw characters interacting!! but if you ask me for ships my brain Will go blank on the spot. dont ask why it works that way i dont know either

im still VERY new to the fandom so. i beg you have patience with me EUFHEIDHEUHDE

i May try to do these chronologically? i might not get to all of the requests, as a heads up

but thats about it!! feel free to head to my inbox and drop something!! i won't be taking requests left in the replies or reblogs of this post, as a heads up

[toadletthethird]

Hear me out.... Skeptunist as two weird people who equally overrationalize social interactions to the point of loosing sense of what any social affection is really about try to act normally with each other's terms. But none of them have normal terms to begin with.

Because they both overcomplicate life to match their expectations. One always suspects secrets and the other awaits for tricks. Both end up acting against the morals, because they believed they were lied to. Like. They're similar in so many ways they wouldn't want to acknowledge.

And it was said before about how skeptic might like opportunist as a puzzle to solve and therefore be able to actually see through his facades. But. I think opportunist might give skeptic very helpful reality check too. He would try to mirror him to get on his side just to be met with devastated look. "Why would you think I thought that? Do I look like I think that? Do I act accordingly?" - and opportunist can swear he hears intense quiz music. Skeptic might appear too straightforward and harsh, even though at his core he deeply cares about others, due to him trying to make everything as effective as possible. And he might ignore others feelings if he finds them unreasonable. And he might act wrongly if he sees he's actions as justifiable. And. And I think opportunist can help him notice that. Just by agreeing and reflecting.

Like I think many of their actions can be alike since they both very "goal over the means" type. It's just that skeptic falls into that unconsciously out of misunderstanding people and opportunist does that fully knowingly. So opportunist could help skeptic notice his wrongdoings and skeptic could actually explain why oppy's actions are wrong. Somehow.

(little update: Or maybe they'll just drive each other into a moral bottom. If they both focus on efficiency, opportunist IS the one to show skeptic that it's worth it no matter how it affects others. For "the truth" aka "the win!!" in question)

I don't know. I don't know. Rotating them in my head.

[dandelion-system]

Okay but hear me out- slay the princess is a really great way to represent DID.

Other than there not being switching, the voices are a great representation. And to an outside perspective who isn’t living with switches, seeing the voices alone is probably explanatory enough.

Every time you get a new voice, it’s a direct reaction to how the last chapter ended. In my mind, this can be equated to ‘trauma causing a split’

Each voice is unique and distinct, and at first sounds different. I don’t know about other systems, but when you dig deeper, you realise that the sounding different is actually all a variation of one voice, at least in headspace. Tone, pitch, intonation and such- all variants of one voice. The same, and yet different. One, but many.

And don’t even get me STARTED on the princess.

She contains multitudes? She is not completely herself until she is multiple of herself? She is one whole when she is many?

Anyway thank you @blacktabbygames for this accidental but amazing way to share my experience with people

[bugg-bonez]

Drew my own faceclaim rahhhhh!!!!!

Btw heads up, my original source design is the Critter Frin / STP Frin AU, so erm check that out!?! This is just my personal ref because RAGHHH.

Anyhoo, art time!!!!!

CW FOR NON-SEXUAL PARTIAL NUDITY & HEALED SH SCARS!!! PLEASE DON'T CONTINUE IF THIS MAKES YOU UNCOMFORTABLE!!!

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Ahem.

Now. Art time for REAL

[plural-headcanons]

The Princess and the Protagonist/Quiet are a plural system(s)!