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🐰•🐶•🐰 -> Reverse 1999 : Bunny Bunny & Pickles

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✈️•⭕•✈️ -> Transformers Prime: Starscream

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Additional

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🐰•🍯•🐰 -> Reverse 1999 : Bunny Bunny

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⚖️•⚔️•⚖️ -> Reverse 1999 : Dikke

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— 🐻•♪

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Twink ❌

Twunk (twink+ hunk) ✅✅✅

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Sometimes, the closest way to feel your loved one's heart, is to stare at their chest.

—🐟/🐀

—🦅/🐊

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Rayashki and Zeno: How a harsh environment shapes actions.

Sometimes, a perception is taken as a principle. A "cruel reality" can be described as a negative perception of the material world, used to assert a situation. "Reality is cruel", however consists in using the previously descrived perception as a fundamental truth or a proposition in which to base the foundations of a system of belief, of behaviour or of a chain of reason. Both are heavily present in Farewell Rayashki, a story all about the strenght of the colective, the indomitable human spirit in the face of adversity and what shapes the actions of those who persue a goal. With that in mind, I wanted to write... Not an analysis per se, but rather to build some sort of structure or perspective (whatever you want to call it) through which the story can be analyzed.

Now, imagine a matrix diagram where the X-axis goes from "Gemeinschaft" (Community) to "Gesellschaft" (Society), two terms taken from german sociologist, Ferdinand Tönnies, and the Y-axis goes from "Deontic" to "Epistemic" in a mix between a Gretchen McCulloch's linguistic sense and a Józef Maria Bocheński's philosophical sense. If everything I just said made no sense, don't worry. Here's a (very) rough explanation of what I'll mean with these two dichotomies through this post: X-axis: A classification of societal ties. "Gemeinschaft" refers to personal, direct interactions with emotional relationships (such as families or small towns like Rayashki) formed by people who strive to archive the goals of a collective. "Gesellschaft", on the other hand, is about indirect and formal interactions, with more rational relationships (like a company or an institution like Zeno) in which everyone band together to persue personal goals in common. Y-axis: A classification of actions as both modality (McCulloh) and authority (Bochenski). Roughly: "actions based on interpretations and beliefs done by someone with an authority based on their ammount of knowledge and experience" (Epistemic)" vs "actions based on rules and/or desires done by someone with a role or position that gives them the power to enforce them" (Deontic).

Upper-left: Gemeinschaft/Epistemic

Windsong's quest, mostly percieved as a fool's errand, is a classic underdog story. The lone reasercher who, disheartened by the lack of support from all the important academic institutions and societies, finds in the small town of Rayashki a more hospitable enviroment to persue her goals. She creats emotional conections with the community and soon finds more self-fulfilment in helping the townfolk than in other things like taking Zeno's offer or abandoning her studies, which are presented as more beneficial options from a rational point of view.

She confronts the notion of "cruel reality" and rejects "Reality is Cruel" as a principle. This action comes from what she knows (her study of ley lines) and beliefs (the people of Rayashki, the usefullness of her field of research).

Bottom-Left: Gesellschaft/Epistemic

You'll think he should be at the opposite side of Windsong BUT Bertolt, as the classical evil guy in your everyday underdog story, actually rejects the notion of "cruel reality", and accepts "Reality is Cruel" as a principle. His emotional detachment from the people of Rayashki, their values, and even their very same idea of community, comes from his role as a member of Zeno, an institution that exemplfies the impersonal and formal relationships of the Gesellschaft. He doesn't see himself as the evil corporate guy who's there to destroy their dream for a greedy goal, but as the savior who comes to provide the light of rationality to this uncultured rural people who are willing to risk their lives for the sake of primitive traditions and values. He defines himself as a "simple representative of Zeno, bound by their rules and orders, working tirelessly to help people in a world wreaked by The Storm", a description that allows him to minimize his negative perception of the reality of others while justifying operating under the principle of Reality is Cruel.

Bottom-Right: Gesellschaft/Deontic

Evgeni is shown through the story as a leader of Rayashki who deeply cares about his community BUT is willing to destroy it for the sake of a rational goal: protecting the lives of the townfolk.

He embraces the notion of "cruel reality", and accepts "Reality is Cruel" as a principle.

But how is HE in the opposite side of Windsong, instead of Bertolt? In Tönnies dichotomy of Gesellschaft and Gemeinschaft, the relationships that are meant to keep people in communities and societies can also push them out: is all about wether the social ties become too tight or too lose to help us find self-fulfilment in them. Windsong found in a community what she couldn't find in society (validation and encouragment for her study of ley lines), while Evgeni thought he found in a society what he couldn't find in his community (a positive prospective for the people of Rayashki).

Upper-Right: Gemeinschaft/Deontic

While Bertolt is a man of the world, trying to expand the benefits of globalization by placing the needs of bigger groups above those of the little ones, what Vila is persuing isn't just a goal to archive, but a dream to share. She didn't became a part of Rayashki only to build an utopia: everyone living there were already doing that and Vila found meaning in developing strong emotional ties with everyone as they strive together to work hard for Rayashki.

However, unlike Windsong, she accepts the notion of "cruel reality", even if she doesn't agree with "Reality is Cruel" as a principle. This one si a bit tricky to explain.

It all comes down to their experiences while chasing their dreams and how that shaped their understanding of what a dream is.

For Vila, is something that kept her going. A cherished wish that inspired her to leave the rusalki and search for a new home. A goal she could share with the people of Rayashki. A hope to cling unto while she nourishes the sprouts of Rayashki while they are passengers of the ship called "St Pavlov's Foundation" while adrift in the vast sea of the outside world, so they can carry on the spirit of Rayashki. She accepts the "cruel reality" as something that could hinder her dreams, force her to adapt them, but never crush them.

For Windsong, the dream was but a promise turned into a burden. It was not something that comforted her if held tight, but rather something it pained her to let go. Accepting the "cruel reality" meant letting something die, and for someone who was struggling in all fronts, it meant taking a toll way to big for her to handle.

As the last ley line hunter, the dream is but a gamble turned into an investment. The chance of failure is there no matter what. Only thing she can do, is to work hard to reduce it as much as possible. To her, a "cruel reality" is something that crushes dreams. Is not enough to reject the use of this perception as a principle: her own experiences taught her that the perception itself can be a cancer. She might have a tendency to put herself down, to have doubts on what she does and to even be "realistic" in any situation she encounters. But there's ALWAYS a part of her fighting her perception of reality from turning into a negative one even if she lacks the proper arguments or mental state to do it effectively. Vila noticed that from day one, and began to slowly share with her the tools Windsong lacked, helping her become a more confident and capable person, while inadvertibly gaining a trusty partner to rely on.

Their experiences shaped them into people who complement each other incredibly well. Leaning into each other, they'll plant their seeds of hope into a new generation. For the study of ley lines; for Rayashki; for those who live in a world affected by The Storm; for those who'll survive it. *** To anyone who'll read this... whatever the hell it was till the end, thank you for time! Feel free ask me anything, correct me, chew this to bits with your bare teeth, whatever you like. I just haphazardly wrote it because I love this game so much.

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Theopil

I think Theopil died with the same type of resignation Isolde had towards being hypnotized by Kakania.

Theopil likely resented Isolde while loving her. Isolde was raised with a kind of love and attention he wasn't given from Evangeline in her process of being raised as her successor. Isolde's existence was also discovered right after Trista's death. Trista and him were as close in age as Isolde and Trista, so he would've grown up with her and seen as Evangeline took her off to awaken her abilities as a medium only to not return. I think the circumstances of her birth is also a reason to why Theopil avoided the Dittarsdorf house as a whole, opting to bring Isolde back gifts before spiriting away again.

When Theopil brought Isolde a broach for her 15th birthday, the box was also from Heinrich who was a childhood friend to her (although she didn't consider him so close). Heinrich also mentioned in the scene Kakania and Isolde met that Theopil never stopped talking about Isolde to him and praising her. I don't think he stopped thinking of her either.

In the UTTU event the Dittarsdorfs are mentioned frequently along with Kakania from the people who lived in Vienna. One of them mention talks about Theopil and gives insight to his social reach in the art community. While Theopil lacked the talent of the women in the Dittarsdorf line, he was still a noble who was comfortable enough financially to enjoy the arts alongside being a man in the 1910s. He was known to experiment with many art mediums and talked to many people. He’s explicitly talked about as a friendly and open person as well as implied to be an easy going mediator. Heinrich revealed he talks about Isolde all the time and praises her. However he doesn’t talk about Evangeline, keeping them both tucked away in a drawer instead of putting their outward personas onto canvas’ to hang up in his gallery despite taking in many models for his art. I think his reasoning behind this is equal parts due to him or wanting to avoid his family and childhood as well as wanting to keep the world away from them. Marcus’ event shines a light best on the subject, the general public is the same as it’s always been, they demand an entertaining story. Isolde saw Mr. Karl for what he wanted out of the family along with how he saw Evangeline as a rotting consumable not yet used up. Theopil saw a similar thought process in everyone with how people talked about Isolde and obsessed over her. He likely had incidents with people wanting to get to her and Isolde diffusing the situation as a simple job hazard. He kept the only art piece and expression of them in a drawer safe from the world.

Theopil's last painting contained a circle and ritual for immunization from The Storm. Gained from Arcana he was told the truth the Foundation was hiding from everyone as well, leading to his panic surrounding it. After learning time was reversing Theopil must've thought of his friends, but most of all how Isolde would never get better. However what Theopil didn’t account for was that Isolde had no intention of getting better due to just anyone’s help. He was the only character to really see Isolde’s cries for help, but he didn’t take into account for the fact that she wasn’t asking for help from anyone besides Kakania.

Heinrich also makes his point during his monologue in 6.20 that art is a symbol of progress towards self-expression. In 6.21 he directly states his goal, "The 'Storm' will put a stop to this frenetic melody before all the good, artistic, heartfelt things in life are destroyed before our eyes." As a person in the center of the social circles for the artists of Vienna, and thus the social circles of nobility, Theopil would be intensely aware of how much time means for progress. He would've known that Isolde would grow worse with time unchecked, but she'd never grow better without time either. The Salvation was made as an effort to continue time again for people, and Theopil made it for Isolde.

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Everything goes back to Theopil

I'm actually slowly feeling the hyperfix leave Isolde and go towards a dead character in this game which isn't a lot but if I had a nickel-

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— 🐊/🦅

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Reverse 1999 spoilerrr

What in the f@ck man 😭

Nvr knew i could cry for wrinkly grumpy old man npc 🥹

Mf i was already crying when he was in the plane like “no way man, aint facking no way man” broo 🤧😭

The fact that it was shown like a kid drew it, like hello??? Thats worse than just showing it omg🥲

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like to think that because evgeni kicked it before rayashki got stormed, he's still around as a ghost and since rayashki is. well. he gets around to search for the remaining people left and who else will it be but the kids and vila. he manages to track them down the foundation and to the kids he basically acts as their guardian angel and to vila he's like the third wheel spectator to vilasong slow(?)burn.

windsong invites vila to have a nice romantic dinner and the main course is. fucking cup noodles because she's a broke college graduate. and his ghost sighs so heavily both vila and windsong can feel his disappointment reverberate throughout the room but have no idea why.

he really doesn't help out in getting them together because we all know vila already wears the pants in the relationship and will probably get around to asking windsong out first

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~•♪ Headshots