#// Which does actually makes sense because she IS the main character of the game

[muraenide]

I've been deep into Reverse 1999 hell the past 3 weeks and my god can I say I'm so happy that we finally have a game where the MC is a well fleshed-out character instead of just an empty self-insert? I'm so fucking in love with Vertin when I've never really been into self-insert MCs all this time. Ugh. If she was playable I'd spoil her rotten.

[meanbossart]

Ask compilation: I'm Starting To Think That This Drow Guy Is Kind Of An Asshole Edition.

Probably a Ranger in the hunter subclass. I actually intended to multi-class him as fighter/ranger at some point and make that his official class, but I haven't had time/quite figured out the best build that would still suit him - Ranger makes a LOT of sense with his backstory, arguably more than fighter, but he's still supposed to be a magic-less brick-house with 19 strength who hasn't handled a bow and arrow in 10 years, so I'm not sure where that leaves us LOL

A lot of people have suggested that Berserk Barbarian would fit him well, but I think that implies a lot of other characteristics that do NOT suit him at all so 🤷

HE DIDN'T EVEN GO TO THE CRECHE, and honestly it made the game feel much more immersive to pick one path and stick to it like Halsin suggested, even if I did have to endure the shadow cursed lands without the shiny mace 😂

Probably for the best, it'd be a real shame if the story ended there just because he didn't like Vlaakith's attitude.

But yeah Lae'zel (who, for the record, I adore) never stood a chance in his playthrough. Sorry baby girl.

I'm either uninformed or we have different definitions of what constitutes a crush, but sure I'll play in this space LOL

He's both jealous but also kind of aloof when it comes to things like that. It's yet another symptom of his arrogance, where it seems unfathomable that anyone who has him would be genuinely tempted by someone else. He doesn't mind a normal amount of glance-stealing and flattery, even playful flirting to a degree, but if there's persistence or if his partner seems to seek another person out for things he thinks he should be providing, he feels threatened.

Also, he has a difficult time discerning that "deep emotional connection" does not equal "romantic interest". So, at least immediately after the events of the game, he's more likely to be made insecure by his partners forming deep bonds with others than any throwaway expression of physical desire or fleeting infatuation.

[MORE UNDER THE CUT]

Let me preface this with the (hopefully unnecessary) disclaimer that this murderous dark-elf's opinions are not my own, and that I very much purposefully made a bit of an asshole character because I find that entertaining.

And now that you're hopefully primed for what's coming - DU drow is pretty damn judgemental of people's looks save for the rare times when they give him a good impression right off the bat. He notes people's appearances and makes preemptive assumptions about them without even realizing it. He definitely does not equal beauty to value or prowess (in fact he will very much still mock of you if you seem too concerned with your appearance) but he does prescribe things based on looks.

I don't think he'd take issue with what you're describing, It sounds like a pretty average body, but he would assume that person is weaker and less fit to "keep up with him", basically. Which kind of diminishes interest.

As far as to what he finds immediately attractive, he definitely prefers people who seem physically fit (not more than himself though - gods forbid). But, the caveat to this whole tangent is that once you get past initial impressions, he could definitely come to be sexually attracted to pretty much any type of body attached to the person he's in love with.

Thank you! There was no main event, just the building up of resentment over time and the opportunity she saw opening up when the Chosen's plan came into motion. She definitely didn't always hate him though, they had a fairly close relationship until his obsessive behavior and arrogance became an issue.

Thank you!!!

They call him the/that drow, dark elf, or "big drow" if there's more than one present. In private they might facetiously call him Bhaalspawn if they get tired of referring to him by race.

I'll be honest, I forgot whether or not I found it in his playthrough LOL but if he did stumble across that would be VERY funny. He'd be like "look at these idiots and their fake murder god. What kind of dimwit would worship carnage as a religion. Hey Shadowheart get a load of this-"

HAPPY YOU ENJOY HIM! I think his unique situation overall with having been such a overwhelmingly horrid person and forgetting all about it is my favorite bit. That's kind of vague, I know, but I often think of dreams I've had where I committed a crime or did something horrible, and that immediate feeling of relief and disconnect that follows immediately after waking up. That's kind of what I imagine it's like for him - he knows of the things he did, but he doesn't really. In theory it's all true but that's a truth far too fantastical for anyone to conceptualize even if it's put right in front of your face.

That, tackling the guilt (or lack thereof) of something you genuinely don't feel like you've done and the intricacies of it, that's a fascinating state of mind to explore. I love how many directions you can take that.

For me, having a character who is not good, but is not necessarily pure unadulterated evil, makes for a lot of complex thought experiments and contradictory values. DU drow has a lot of those - things he believes and abides by absolutely except for this specific instance, being contradictory is a pillar of his character and it can be a little challenging to keep up with it - but I'd be lying if I said I don't deeply enjoy that aspect as well all the same.

THANK YOUUUU It took me so long to figure out how to draw Astarion in a way I liked, I'm so relieved that others enjoy it too 😂

Shockingly he did succeed it and was immediately put-off by it, lmao. They wouldn't really develop much of a relationship for a while after that, so at that point DU drow just figured he was trying to get something from him and wrote him off, much as he did with everyone else with the exception of Shadowheart.

He didn't meet her at the Tiefling grove! I didn't even know you could meet her before-hand for the longest time. But he did super, duper kill her at camp of course.

He managed to hide the body and everyone else was none the wiser, huge blood bhaal-sigil on the ground aside lmao. He was a little shocked but didn't feel all that bad about it, kind of resigning to that primal feeling of satisfaction at a job-well-done that overwhelmed him instead. He decided she was too weak to survive out there and he had just spared her the trouble.

[kindestegg]

"Maybe if I ask her real nice, I won't have to turn her into a puppet!"

So... this line has been puzzling me for a WHILE because it feels like it goes against the idea Collector's go-to default is to just puppet-ify everything.

UNTIL someone in a server I was a part of pointed out that hey, doesn't it seem like Collector is also actively trying to nudge King to play something else? That they're tired of this game?

And I thought about the capture the flag game suggestion.

"What if we switch it up? We could play capture the flag! Us versus... everyone on the Isles!"

Okay, aside from the obvious commentary that Collector sees himself and King against the world (which is. another thing. I need to write up on *biting down on my arm*), it's interesting this implies the people would probably not be puppets anymore, since you'd probably need people who are conscious to actively play in the game, and the whole "people breathing on the moon" discussion doesn't seem like it would happen if they were considering the people as puppets.

It's also worth noting that Collector turning Lilith and Hooty into puppets happens immediately after King tells him The Owl House Game is like playing pretend...

And also, after Collector asks King what role he gets to play, and King presumably tells him, he uh, does this...

Which I'm guessing means he was pretty happy to hear he's going to be the main character. And then immediately after...

... Do you think there's a possibility Collector's go-to isn't in fact to just capture people as puppets, but interpreted this immediately from King's talk of the Owl House Game?

He also lashes out at King for criticizing him over turning Terra into a puppet, claiming he's just "playing pretend".

And considering how, from King's talk with Eda and Lilith, he's only losing his fear of making Collector mad NOW...

It's possible most of this was born out of a misunderstanding. Collector interpreted the game as having "lots of players" as puppets, the whole Isles as King put it, and King was too scared to tell him that wasn't it. No wonder Collector lashes out when told not to do so, to him it makes no sense because this is how the game is played in his view.

If he's getting tired of this game though, it also explains why he suggested not turning Eda into a puppet first, why he wanted to play something that would keep people free from such a spell, and even why he seemed slightly disappointed that he ended up turning Terra into a puppet too by the end, which is another sentient playmate lost, even if she made him angry.

So... if all of this could have been avoided if King had told Collector that this game shouldn't entail turning people into puppets, I think I have a hunch of the narrative purpose of all this.

It's telling the truth. King has to tell the truth. That there was no Owl House game, that he made it all up, that he was a scared kid desperate to save the people he loved and the Isles and that yes, he did use Collector.

King wasn't in the wrong for lying of course, because it was this or losing everything he loves. But things have been regardless severely more complicated because of this lie.

And I suspect he knows this, as he says he wants to talk to Collector to solve things. Maybe this talking is him telling the truth after all. He does say this directly after communicating that he's losing his fear of making Collector mad. Maybe he's finally gotten courage to confess the truth.

It's also worth noting again that Collector... doesn't care that King is lying about some things? He barely reacts with anger or shock at him talking to Eda and Lilith and seeing that they're keeping this as secret from him, he only cares when it sounds like King might want to hurt him.

It sounds silly when you put it this way, but the biggest obstacle keeping their relationship from fully realizing and them resolving things is just a misunderstanding. King wrongfully believing Collector might hurt him and Collector wrongfully believing King is happy playing pretend with him.

Once they actually talk this out, they can finally resolve things.

... the only problem is that I think if King approaches Collector saying he wants to tell him something now...

Collector might just think it has to do with King getting rid of him, and things might turn for the worst.

[moodcrab]

Fixing Delphine

This bitch.

I actually like that they made a character that is on your side but is somewhat unlikable, Delphine is Team Dragonborn, but she's not really one of the good guys. And that's cool, conflict means drama. So what's the problem? Well unfortunately, this drama is surface level and isn't used to drive the story, so It's kind of just annoying.

People oversimplify their hatred of Delphine into "She wants you to kill Paarthurnax," because unlike Delphine, people actually like Paarthurnax. Understandable, but barely scratches the surface. We'll get to The Paarthurnax Dilemma in time, but that quest is a symptom, not the illness itself.

If I could sum up Delphine in a word it would be "inconsistent." For example, she's a fugitive waging a one woman war on the Thalmor from the shadows, who's only survived this long from sheer paranoia - but she also uses her real name and leaves a note in Ustengrav for whoever happens to pick it up with directions and a pass word to her secret hide out.

She needs to go through her super secret contact Farengar to use the Jarl's resources to go into Bleak Falls Barrow, a tutorial level dungeon she can see from her house, and she's impressed that you did it - but she also goes personally to the other side of the country to delve alone into the massive Ustengrav to steal the Horn of Jurgan Windcaller, no issues, just a quick in and out twenty minute adventure.

She takes the fact that you found her Ustengrav note as proof you're the Greybeard's new guy and not some Thalmor plant even though she herself, a non Dragonborn, had also completed Ustengrav and taken the horn proving it's totally possible. She even points this out in her own dialogue then demands we prove who we are, even though that was the whole point of the Ustengrav note. It's also a pretty big assumption that just because I'm the guy the Greybeards call Dragonborn that I can't ALSO be with the Thalmor.

We are left with this awkward sense that the writers are flailing to make us think this woman is competent and objective, without actually having her do anything that clever. Just act like the dumb thing was smart and have her act like a cocky brat if questioned about it.

Inconsistency. It's her thing. Does she hate the Thalmor? That would make sense given what we know about her. But that gets dropped half way through the main story and suddenly she hates The Greybeards, for absolutely no reason at all. She gives a reason, but it's bullshit.

In her own words, "If the greybeards had their way, the dragonborn would sit on a mountain talking to the sky." But that's not true is it. We know The Greybeards, they encouraged us to fulfill our destiny. Even if you say you want to follow their Way of the Voice, they'll be glad to hear it but warn you not to let it get in the way of what needs to be done. Delphine even uses Tiber Septim as an example, which is even stupider because The Greybeards actively encouraged Tiber to conquer Tamriel. Have I read more in game books than the dialogue writers??

But that's not the end of it, when it becomes convenient for the plot this hatred is flipped once again from The Greybeards onto dragons. Not Alduin. All dragons. Despite the fact that, as a Blade, she should know about Nafaalilargus, a dragon ally of the Empire and the Blades for thousands of years, and the Blades don't just indiscriminately kill all dragons no matter the circumstances, and that Tiber Septim himself almost certainly met Paarthurnax at some point, she suddenly seems to be acting like she has a personal grudge against dragons. Which brings us to the Paarthurnax Dilemma...

See here's the thing, you could easily write off the frustration everyone feels towards this quest as Bethesda's crappy design, where there is no conclusion other than to kill Paarthurnax, or else leave an unfinished quest languishing in the menu. Bethesda apparently didn't consider the idea that anybody would actually prefer to turn on the Blades, even though the Blades have become a bit of a running joke among the fans, or that anyone would take umbrage with Delphine giving out orders and ultimatums.

But no, it's so much worse than that. Delphine being a surly unlikable c u n t from the day we met her is one thing, but the fact that she has been wrong about almost everything she's ever said in game, and still having the AUDACITY to treat us like her work bitch and us never, not once, getting the opportunity to put her in her place... That's not poor quest design, that's the game gaslighting us.

Let's do a quick list of every one of Delphine's theories, and how many were actually correct shall we:

You are not the Dragonborn ❌

The Greybeards shouldn't be trusted to identify a Dragonborn ❌

The dragons aren't just coming back, they're coming back to life ✅

The Thalmor have something to do with the dragons returning ❌

Esbern is dead ❌

The Greybeards just want the Dragonborn to sit on a mountain and meditate ❌

The Greybeards wanted Tiber Septim to just sit on a mountain and meditate ❌

Paarthurnax, having lived in exile for thousands of years, deserves corporal punishment ❌

As ACTING Grand Master of the Blades, she gets to boss around the Dragonborn ❌

She deserves a seat at the peace negotiations ❌

And these are just the things that are factually wrong, leaving aside opinions on her morality and shitty attitude. This is the woman the game presents to us as a shrewd strategist.

BUT I CAN FIX HER!

Like I said I like the idea of a character who is on your side but is somewhat unlikable. It actually won't take much to make Delphine endearing to the fans. We have to do a Boromir on her. A Lot of people dislike Boromir throughout the Fellowship of the Ring but weep at his death. We have to tweak three things to have the same thing happen to Delphine:

1. Make her actually competent and useful so that while we don't agree with her we can see why she does the things she does, and desire to keep her around.

2. Have her mistakes called out and have consequences.

3. Have her redeem her mistakes with a badass honourable death.

[two-dolla-bills]

Top 10 mechanisms songs that you can get away with playing at a retailers without too many side eyes

I got a job in retail and I felt inspired lol

Disclaimer: this is not a list of the best mechanisms songs/the ones I think deserve to go "mainstream", they're just the ones that would blend in the best

1. Sirens

This song is probably the mechanisms' least "centered" song. It doesn't mention any characters, it has no narration, and out of context it just sounds like A Song that you might hear on the radio. Sirens is to the mechanisms as you're the one that I want is to grease, you know?

2. Trial by song

THIS one. It's in the same category to me as Sirens; you can listen to it by itself and not suspect much. Unlike Sirens which can be completely separated and still make sense, this one is more like a whole new world from Aladdin. There are parts that make it obvious that it's from a larger whole, but if you just so happen to catch the "safe" parts you won't suspect much.

Points were deducted due to Mr. Soldier's unique vocals. (Unique as in not very common in mainstream music)

3. Empty trail

This is no offense to Dr. La Cognizzi, but sometimes when she sings it's hard to make out what she's saying, which works in her favor in these circumstances. It sounds country/rock, which help it blend in with some dad rock songs. If I remember correctly, the melody was actually taken from a Led Zeppelin song, so if you aren't paying attention to what's ACTUALLY being said you can get away with claiming it's a cover.

4. Ties that bind

Although this one does mention many plot points, many fans have stated that they had no idea what the fuck was being said until the have looked for the lyrics (myself included) this, combined with it's jazzy rythm, make it able to blend in with other songs, similarly to empty trail

5. Odin

The most "normal" song out of the entirety of The Bifrost Incident. This song made it to the top five because it has similarities with Roam by the B-52's, but had points deducted due to it clearly being about an awesome space train

6. Lost in the cosmos

This might just be personal opinion, but it sounds like a church song. You can pull off the effect of it being about earth Jesus and not space robot Jesus if you have particularly bad quality speakers and a busy store w/lots of noise. Again, the lyrics kinda give it away as to not being entirely main stream

7. Stranger

Look it's a banger, ok? Many of the lyrics could be taken as just being metaphors, but I feel like you have to squint to "see" it. Pay too much attention and shit gets a little weird. Also, points deducted because it's two men singing together and not a man and a woman, which throws a wrench into the works. At kohl's it might raise some eyebrows but in like hot topic it'll blend in a little better

8. Redeath

You would think a song about a sphoenix (space phoenix) would be lower on the list but you'd be wrong. It's a really pretty song with a good original melody, and it's something that can be drowned out by a particularly rowdy crowd. Like Stranger, it would blend in better at a hot topic than at kohl's, but only slightly.

9. Elysian Fields

The melody in Elysian Fields is taken directly from the song wayfaring stranger, which has been coverd by Jonny Cash, Ed Sheeran, Poor Man's Poison, and The Longest Johns, AS WELL HAS having been featured in the movie 1917 and in the video game The Last of Us II, which make it very recognizable. Because of this recognizability, people who know the original song may be caught off guard by hearing it in a Walmart with completely different lyrics. It was originally in 7th place, but the popularity of the original takes off many points

10. Once and future king

It's a banger, don't get me wrong, but it also very heavily and clearly mentions plot points from the album, which itself is heavily base on Aurtharian mythology; something very well known in the western world (also the names are not common at all and most haven't been in fashion in centuries). In a crowded, busy space with not very good quality speakers it could potentially blend in, but one or two names might sneak out. The only reason it's on the list is because of the instrumental outro, which sounds normal enough

[gachagen]

When I first started playing Reverse: 1999 I was expecting for Vertin to be a very boring protagonist who was maybe even silent the majority of her time on screen, but I really just think that's because these past few years I've only really been playing Hoyoverse games where the protagonist is either a quirky, eccentric girl or a silent person going about their day lol. I've forgotten how great it is when we get an actual protagonist with a realistic personality and rationale!

I also think Bluepoch kept Vertin shrouded in mystery on purpose, because in all of the adverts for this game with Vertin she only ever says a few nondescript lines here and there, and even on the website for the game you still can't really get a read on her as she's just summarizing her journey so far in a pretty monotone voice.

So Vertin is just a surprise you get to experience when you first play the game, and I was not expecting to like her as much as I do. She has a really deep empathetic nature that drives her to try and find more people to save, and you can really tell that she does want to try and save both humans and arcanists.

Vertin is separated from the other characters in the sense that she doesn't see the world completely black and white, and is unwilling to give up when her back is against the wall. Even when she is quite literally being captured by an Arcanist who's leagues above her, she's still willing to try and get away anyways.

And Reverse: 1999 has this theme of "going back to when things were better" VS "Living for the future" that works really with Vertin as the main character. Because the deeper you go into the story, the more you learn that neither Manus Vindictae or The Foundation really care about saving lives from the Storm, Vertin is the only one who wants to put in the effort to try and solve an issue where both Humans and Arcanists can win. And it quickly goes from "Manus Vindictae is the bad guys, and Vertin and the Foundation are the good guys" to "Vertin is alone in this endeavour to save people, and it's her against two powerful organizations alone."

I think that's really cool pacing for the story as well, because it really subverts your expectations early on.

Vertin's care for the other characters is so deeply enshrouded into the game that it bleeds through even into the main mechanics of the game. Like, instead of equipping weapons or armor to your characters, you're shaping their mind with "new ideas" that change them as people, and thats what makes them stronger in battle, not tools or guns.

It's Vertin's ability to make them see the world in a different light and want to live for "the next era" that deepens her bonds with the characters in the suitcase, and instead of giving the characters a "weapon slot" for guns or swords etc, you give them "psycubes" which hold memories and dreams the characters have had before that they look back on fondly.

I really like this game, I don't know if you guys can tell. It's already released and I do think it can use some polish, but it's actually pretty amazing and I'm glad that I was keeping up with it for so long and able to play it on release.

[inbarfink]

One of the major themes of ‘Ace Attorney’ has always been trust, obviously. Like, this is the most important creed that Mia Fey passed down to Phoenix and from there to anyone he has touched.

As well as just generally being one of Phoenix’s most important positive qualities.

The entire arc of the first game hinges on the idea of the Power of Trust, with it being a core pillar of Phoenix's relationships with both Miles and Maya.

And even the main gameplay themes of ‘turnabout’ and ‘turning your thinking around’ are linked to this theme of Trust. The whole idea around the narrative of a ‘turnabout’ is that the Defendant seems obviously totally guilty, but the defense attorney proves them innocent by Trusting in their innocence. 

And ‘turning your thinking around’ is generally framed as - rather than the general mystery-solver mindset of trying to deduce what has happened from the evidence given - trusting in your client’s innocence and looking for evidence that should be there if they are innocent/that other person is the culprit. Using the Trust in the client as the foundation to build your logic from.

And being such a core theme of the franchise, the games started reiterating on and deconstructing it almost immediately. “Farewell, My Turnabout'' having a Guilty Client feels like the most obvious example, maybe. But actually the game starts casting suspicions on Engarde pretty early on, and most of the emotional turmoil related to him is more of the, like “will Phoenix sacrifice the truth for Maya’s sake” hostage situation stuff. 

I think the more important stuff in that case is more about the Phoenix-Edgeworth drama. How Phoenix’ sense of trust, which seems like such an unwavering and unbreakable virtue in the first game, does actually have limits. Phoenix feels that Miles has betrayed his trust by, y’know, running off to Europe and making him think he was dead - and it takes him time to learn how to regain this sense of trust in him.

Meanwhile, Matt Engarde, he considers himself strong because he trusts in no one. In contrast to Adrian, who both he and she herself see as ‘weak’ because of her tendency to blindly trust the person she is dependent on. But at the end, it’s Matt’s distrust in everyone around him that brings on his own downfall. 

And the game after that adds in Dahlia Hawthorne who is, as Mia Fey’s nemesis, a sort of representation of the dangers of trust. A character who uses and manipulates those who put their trust in her.

“Apollo Justice: Ace Attorney” establishes its more cynical and deconstructivist tone compared to the original trilogy in part by always putting some sort of element of distrust between the Lawyer and the Defendant. With Apollo basically unable to really have a decent conversation with any of his clients, many of them being antagonistic towards him or hiding things from him. Phoenix Wright was basically the only defendant Apollo went into court actually 100% putting his trust in him… and we all know how that worked out.

And this moment is especially effective because… if you’re playing this game unspoiled after finishing the Phoenix Wright Trilogy, you probably trust Phoenix as well! The emotions Apollo feels as he sees who Phoenix had become are meant to mirror the emotions the Player probably feels at this very moment. And the hints and questions about what Phoenix did in the trial seven years ago are a challenge to the trust of both Apollo and the Player. Both of them are stuck between what they knew of Phoenix before and the revelation of what Phoenix confessed to in “Turnabout Trump”. Apollo’s uncertainty is the player’s uncertainty as well. 

And even if Apollo’s image of Phoenix is somewhat improved by “Turnabout Successions” and it’s clearly established that, no, Phoenix never knowingly used forged evidence as an attorney… There’s no big reconciliation that fixes everything like with Phoenix and Miles. It’s clear that Apollo’s sense of trust, in Phoenix Wright and in general, never quite recovered from the events of AJAA. Later games do still reiterate that he’s a lot more distrustful than other playable attorneys.

(And that’s also a point where the Player-Player Character Synergy from ‘Turnabout Trump’ kinda diverges, since I think most Players do regain their trust in Phoenix by the end of AA4 at least. Especially as unlike Apollo, we actually got to be inside his head again - that’s not exactly an experience Apollo will ever get to have. )

But, well, maybe it’s because it’s just really fresh in my mind, but I just think what ‘The Great Ace Attorney’ Duology does with this theme is just… really cool!

These games really play on the idea of challenging the trust… not just of the Player Character Ryunosuke, but also of the Player themselves. Because Ryunosuke also gets to have a Guilty Client… as his very-first actual client who is not himself. And since the game doesn’t lay on the suspicion quite as thick as with Matt Engarde, and since there’s no hostage situation of course… This plotline can have emotional synergy between the Player and the Player Character and focus a lot more about the emotional repercussion of putting your trust in someone totally absolutely unworthy of trust. 

And how this betrayal of trust haunts the characters moving forwards. How Ryunosuke now finds himself being held back by his doubts due to the memories of this terrible trial, and... not necessarily a lack of trust in others as much as a lack of trust in himself. How Susato is driven to do something she considers unforgivable - tempering with the Crime Scene behind the police’s back - because that trial had made her lose trust in the entire British Justice System.

The entire climax of the first game is thus a reaffirmation of the power of trust. By unwaveringly defending Gina - a girl they have bonded with, but has also been extremely uncooperative, shady, dishonest and literally involved in what went down in the McGilded Trial, in a very grueling and seemingly unbeatable trial  - Ryunosuke and Susato rediscover their ability to trust their defendant. Because, yeah, trust is a leap of faith - you never know when you’re gonna meet a McGilded or a Dahlia Hawthorne - but it’s also absolutely worth it.

And then with the themes of conspiracy strawn throughout the games and especially ramping up in the second game, that’s really kinda a thing that’s bound to sow seeds of paranoia and distrust in the Players about… all sorts of characters. Like, okay, I am fairly sure that pretty much every player who first walked into the Lord Chief Justice’s office and saw Mael Stronghart was like “Oh look! That’s the Final Boss!”. But with the hints for there being some sort of web of intrigue being hidden in the shadows, there’s plenty of other characters that skirt the line between feeling suspicious and trustworthy. The reveal that Seishiro Jigoku is actually a culprit was one of the best-done reveals in the whole franchise. And on the other hand, there are many reasons to be suspicious of Yujin due to the amount of secrets he clearly keeps, and yet he turns out to be a very straightforwardly heroic character. 

And then there’s Kazuma. And Mael Stronghart might be the Obvious Final Boss to the Conspiracy and Murder Mystery parts of the game, but within this thematic throughline of the challenges of trust, Kazuma is pretty much that part’s Final Boss. 

Initially designed to be someone both the characters and the players intently trust, both in terms of the meta-perspective of how he’s set up to be a kinda Mia-Miles hybrid and any Player with knowledge of the previous games will know that’s a kind of person you can rely on. And in general, even to newcomers, everything he says and does in the first two chapters of the game make him feel like just a very upstanding guy you can trust.

Then, when he comes back in the second games, he comes back with a new attitude that feels colder towards Ryunosuke (and thus the Player) and that’s also coupled with a whole bunch of mysteries about him that were hinted in the previous game, but are now coming to the forefront. 

And as the Trial of Barok Van Zieks progresses, it becomes increasingly clear that Karuma has, theoretically, all the possible motivation to kill Greyson and frame Barok for it, that he was one of the last people to see Gregson before his death and that he literally brandished a sword at him. And despite how cagey and shady he acts, he still insists he never killed anyone.

And the reveal that he has knowingly participated in an assassination plot behind the backs of both Ryunosuke and Susato is bound to cause a feeling of shock, confusion and betrayal not just in these characters - but also in the Player. The Player and Player Characters are in a lot of emotional synergy through this entire Kazuma storyline. These feelings of conflict between wanting to trust Kazuma after seeing him in his best and all the mounting suspicions due to all the revelations about him are really felt by all three of us.

And in the end the challenge for Ryunosuke and Susato is not to abandon Kazuma completely, and it’s not to continue blindly trusting their old idealized view of Kazuma - it’s to face the fact that he has kinda lost his way for single-minded revenge, while also still trusting that he is deep-down the same good not-murdery man they have known him as before.

[transmascutena]

Akio’s narrative and what it means to be “special”

Here's a bit of a rambly analysis I wrote about the concept of being "special" or "chosen" and what it means within the narrative of Revolutionary Girl Utena, as well as the biased framing of the narrative itself. It also became kind of a character analysis of Akio on accident.

General trigger warning for mentions of grooming, incest and victim blaming. Contains spoilers for the whole show.

In the world of Ohtori Academy, being “special” is synonymous with being a victim of Akio.

In episode 20, when Utena goes to Akio for advice regarding the situation with Wakaba, he reveals his philosophy about there being two kinds of people in the world: those who are special, and those who are not. He tells Utena that she is special, while implying that Wakaba is not. This is a textbook grooming tactic, making a kid feel special/important/mature/whatever in the eyes of an adult to gain their trust and emotionally distance them from their peers, but what I find interesting about this scene in hindsight is that the reason Utena is “special” in the first place is because of Akio. He’s the one who gave her the ring that made her part of the dueling game (part of the narrative), he and by extension Anthy are the ones who presumably manipulate the duels to give Utena the power of Dios that lets her win, and he’s the one who inspired her to become a prince, which is what makes her classmates view her as special too. In a way, Utena is a chosen one protagonist, but we come to realize that it’s only true in the sense that the villain has chosen her as his victim. Akio is not interested in Utena because she’s special, as he would like her to believe, but rather she becomes “special” because Akio has an interest in her — and had it since she was a vulnerable and impressionable child. (I believe that it was Akio who found her in the coffin, not Dios. Although I will also get to the idea that Dios might never have existed in a bit.)

What about the rest of the cast? Aside from Utena and Anthy, our main characters, the people who are designated as special by the narrative are the student council. The duelists who received their rings from End of the World. Again we have Akio deciding who gets to special within the world itself and within the story, and he is deliberately choosing people who are vulnerable, people who all have this fucked up idea about what love looks like. There is nothing special about them, really, apart from them being the exact kinds of people most vulnerable to being taken advantage of by Akio.

Of course this idea he has of people is a false one, but it does have a real impact on the social hierarchy of the school, how people perceive each other, and especially how people perceive themselves. The main example of this is Wakaba, whose duel is all about the frustration of being a side character, but really it extends to all of the Black Rose Duelists. They get their time in the spotlight, their focus episode. They get to be special, but like Akio says in episode 20, it’s only for a short time. It’s only as long as they’re useful to him. It makes sense why Wakaba is angry, and feels looked down on, but with this interpretation of what being special actually means for the characters in Utena, it is perhaps a good thing that she isn’t.

This viewpoint Akio has of the special and the non-special, and how much it frames the narrative of Utena, leads me to believe that the show, or at least a lot of it, can interpreted as being framed by him. The most direct example of this is episode 33, where many of the scenes are literally framed from his point of view, but I do think it extends to a lot of the narrative as a whole. It explains why Utena is the main character, since she’s the duelist whose abilities Akio is focused on cultivating throughout the plot. We find out in episode 13 that he has been watching her duel, and that he thinks there’s a chance she’ll make it to the final one. This implies that, at least symbolically, the first 12 episodes are him watching her to try to figure out her potential. He is not literally “behind the camera” as he is in episode 33, instead he has more of a director role. We know that he has some kind of semi-omniscient perspective of the school and what goes on in it, and I don’t think it’s too much of a stretch to say that that is what we are seeing when we watch the show, at least to an extent. It also explains why he is rarely obviously framed as the villain. We know he is because of the horrible things we see him do, and the show knows it too, but a lot of the time as he’s doing them, there’s a weird sort of cognitive dissonance between the between the framing/presentation of the scene and the horrifying contents of it, which makes it really unsettling. In particular I’m thinking of the weirdly upbeat and romantic music in episode 30. Akio’s grooming of Utena is often presented as this fairy tale-esque romance, because that’s how he wants her (and us?) to see it. Despite the sinister things going on in that episode, the only thing ever framed as such is Anthy. So let’s talk about her now.

The idea that the story of Utena is framed, directed and narrated by Akio really calls into question whether or not we can take his and Anthy’s backstory as presented at face value, and even aside from the symbolic and metaphorical nature of it, I really don’t think we can. I think Akio intentionally paints himself as a victim in it, someone who was once good but isn’t anymore because someone else (Anthy) made him that way. He has constructed this narrative where he is not at fault for anything he does, because his power to be good is literally locked away somewhere, when really, he could just stop being so fucking horrible.

I’m honestly inclined to take him at his word when he says “there never was a prince in this world to begin with” in episode 38. Dios never really existed, both in that the idea of The Prince (as well as The Princess and The Witch) is a constructed role and a metaphor, but also in that Akio was never a different person. He might have been kind once, but that wasn’t taken from him by anybody, he just grew up and he decided to hurt people. Did something tragic happen to him and Anthy to shape the cynical way he views the world? Absolutely. But it’s not an excuse he can use to justify everything like he tries to do. Several times throughout the show we see Akio pushing blame away from himself; he tells Anthy that it’s the world that’s hurting her, not him, in episode 37. In episode 38 he says she “enjoys being a witch.” And he’s not the only one to use Anthy as a scapegoat and blame her for things that aren’t her fault—this is something most characters do just as much as they project their desires onto her—but if he is framing the narrative this way, and that is what impacts the viewpoints of everyone else, then it does all circle back to him in the end.

I think part of him genuinely believes it too, that his own biased reframing of the story is the truth, and that this is how he copes with the guilt he feels for what he does. But of course the guilt is never stronger than his selfishness, which is why he never changes. And I think Anthy has internalized his version of these events as well, which is part of why she’s so trapped. She believes all of it is her fault, that he is the way he is because of her. This is not to say that Anthy is a blameless or innocent person, because she isn’t and she does hurt other people, but the idea that the abuse is somehow mutual between her and Akio or that they’re in any way on a level playing field in their relationship is simply not true. When he says his “Must you still torture me?” line in episode 34, that’s not some revealing insight into her having the upper hand the whole time, actually, it’s just him projecting his guilt and blaming her for his actions again. All she does in this scene to make him react like that is say “Good night, brother,” and to me it has always read as him being upset at being reminded of his role in all of this as the abuser. He cannot stand the fact that he is the one in the wrong here, and he has to make himself believe that Anthy is the one making him do it. Classic victim blaming in action here. It’s worth noting that she does look sinister when she smiles at him in this scene (and I imagine she does feel satisfaction at getting back at him in whatever tiny ways she can,) but again, if he frames the narrative, he is the one framing her that way in the first place. Anthy is not a witch. Not literally and certainly not within the symbolism and metaphor of the show. That’s a role Akio has cast her in. It’s a role she chooses to play as well, to an extent, but it’s questionable how much choice in the matter she really has.

All of this is why it’s so significant that the show ends when Anthy leaves Ohtori. When she leaves Akio. The narrative is Akio’s, and because Ohtori is Akio’s world, leaving it necessarily means leaving the narrative as well. Which is why we never see Utena and Anthy finding each other, or what is really outside the Academy — Akio’s perspective is just too limited for that, and it isn’t for him to see either.

I also just find it nice that their reunion and relationship doesn’t have to be a Story. They don’t have to be characters anymore, there doesn’t need to be any grand conflict beyond what is expected of being real people in the real world in a real relationship. They aren’t “special” anymore, and they’re not being watched. Not even by us.

(Here’s a fun little bonus about Nanami: I don’t believe every part of the show is framed and directed by Akio, and he certainly has no reason to care about all of Nanami’s silly side-plot shenanigans. So I like to think that all of the more comedic episodes are Anthy’s work. It’s already heavily implied that she’s the one pulling all these pranks on Nanami, and as insult to injury this is Anthy framing her in the most ridiculous way possible on purpose.)

[heavenlymorals]

The Camp Girls: A Pedestal of Morality

Warning: This post contains the exploration of period-typical attitudes that can border on sexism, as well as spoilers for RDR2.

RDR2 is a game, that for the most part, values its historical setting in the sense that the setting actually matters to the story and the characters. The characters are not only reacting to the historical attitudes, but they are a part of it as well. Of course, Red Dead 2 is a bit more tame in some aspects of 1899 America, especially compared to RDR1, which makes SURE to remind you of the prejudices of 1911 America.

For this post, however, I want to talk about more domestic attitudes that were a part of the gang- to be more specific, I want to talk about the Cult of Domesticity or the Cult of Womanhood and how that idea relates back to Dutch's gang.

The Cult of Domesticity or the Cult of Womanhood was an idea that was popularized in the 19th century by the Victorian middle class that spread to America and explained, encouraged, and pushed specific gender roles and cultural ideas to the masses. As the name probably explained, this idea was pushed onto mainly women. There were two main aspects of it- the private sphere and the harbinger of morality.

The Private Sphere had everything to do with a woman's role in the house- hence the private sphere. The Private Sphere had everything to do with housekeeping, childrearing, being a good host, and overall creating a safe haven for the men in their lives. While the men had to deal with the public sphere, which was business, work, protection, etc., women took charge of the private sphere.

The morality aspect of it is about how women were expected to bring morals to the house. Men were expected to hold women in high regard and women provided sectors of emotional safety and humanity to men, as well as providing children with a moral code and instill them with manners.

This excerpt from usahistory.org explains it better than I can: "A TRUE MAN was concerned about success and moving up the social ladder. He was aggressive, competitive, and rational, and channeled all of his time and energy into his work. A TRUE WOMAN, on the other hand, was virtuous. Her four chief characteristics were piety, purity, submissiveness, and domesticity. She was the great civilizer who created order in the home in return for her husband's protection, financial security, and social status."

Of course, men perpetuated this idea, but a lot of women also supported this model of living, believing it to be the way it should be. Writers like Sarah Hale published magazines that explained what should be the behaviors of a proper lady. Women's magazines like Godey's Lady's Book sold 150,000 copies in a year. Catherine Beecher was an advocate for bringing the women's sphere to the classroom in order to instill a proper moral code into their students.

But why does this matter? I mean, the camp girls aren't exactly the moral standard of womanhood in the 1800s. Mary Beth is a thief. Karen is a scam artist. Tilly ran with gangs and murdered a man. Abigail was an ex-prostitute and a thief. Grimshaw was probably all of those things combined at one point or another.

Well, you could argue that because they live unconventional lives, morality was a bit greyer, but overall, the women of the camp still, in one way or another, adhered to this idea regarding the cult of domesticity.

The private sphere and the public sphere definitely existed in the gang, which is why there were so few missions with the camp girls. The girls were mostly resigned to the "house" or to the camp. They worked to make the camp a livable place for the men who gave them protection and financial security.

It is a common sight seeing Tilly washing clothes, or Mary Beth and Karen sewing something, or Abigail wiping down tables, same as Grimshaw. There are all very domestic roles- while in camp, the women are almost always working, except for Molly and Sadie, while the men are almost always lounging around- typical of the 1800s home.

The girls mention this as well through interactions.

Tilly mentions how much she hates washing and mending the men's laundry and how she wishes the men could do their own laundry.

Karen tells Grimshaw to shut up because Grimshaw isn't the one feeding her, so she won't take her bullying.

Abigail screams how the men aren't being men because they couldn't protect Jack from being kidnapped. She also critiques Dutch's philosophy because it doesn't feed them.

Mary Beth is yelled at for not working in the camp as she should by Grimshaw.

There are more examples of this, but we will be here all day if I have to go through all of them.

Grimshaw is kinda obvious. The girls have to work to please this fierce dragon, who is always working. Arthur mentions in the entering Valentine mission whether or not Miss Grimshaw could spare them, showing how the general priority of the girls in the camp is domestic work.

We also know that the girls doing men's work is generally rare due to this one interaction with Karen- "Not so long ago, I was a damsel in distress. Now they got me protecting the men."

The now implies that this isn't a normal routine and that protecting the men is not something that she usually has to do.

So that was just the domestic aspect of it, but there is also the morality part of it.

I think the biggest representation of this is the mini-therapy sessions with the girls, telling you to be better and offering advice to what might make Arthur a better man, with Arthur being more comfortable opening up to them BECAUSE they are women and because he expects their morality to keep them from using such information to hurt him, which is something he has to be careful with when it comes to the men in the camp. But there are more representations of this.

There is Abigail begging John to put his old ways behind and to be a better man, a real man. There is Hosea speaking about Bessie, talking about how while she is in heaven, he will be looking up at her from hell, implying that Bessie had the moral compass that Hosea did not (the interaction also probably destroys the fandom's interpretation of Bessie and Annabelle being very active members in the gang, when that is most likely not the case). Even Mary, though not a camp girl, still acts like a moral harbinger to Arthur, telling him to be a better man and stop being an outlaw.

John has a line in Undead Nightmare that is a complete reference to this thought process: "Abigail, teach the boy right from wrong."

So what am I getting at here? What is the point of all of this? It seems like I am just going off on old historical attitudes, but what does this ultimately mean?

What it means is that Dutch allows women into the gang in order to dignify his ambitions.

Dutch likes to differentiate himself from the other gangs that still roamed in America. While the other gangs stole and robbed for fortune, Dutch robbed for his romantic ideals and to be a western Robinhood. While the other gangs had many men, Dutch had a few strong men whom he knew personally and trusted. While the other gangs targeted innocents, Dutch's gang targeted only those whom they saw as committing the sin of avarice.

Dutch wants to see himself as morally superior to other gangs and other criminals, so what better way to do it than allowing women into the gang? Women who suffered great misfortune in their life and had no other place to go. With women being a pedestal of morality back in that time, Dutch having women in his camp as a way to differentiate himself from other gangs- a way to show people that he is better than them.

Every other gang encountered in the game has no women.

"We are what we are. A bunch of desperados on the run. But with the women, a change of clothes, we're a choir, or a gang of pilgrims, or something."

See, that one line from Guarma from Dutch basically explains the whole concept. Without the women, they are desperate criminals, clinging onto nothing, but with the women, they become virtuous by association. But someone like Micah doesn't care about this virtue or morality because he explains that he would rather just be a criminal and run with a few strong men, which is what he does in the end.

The concept of the private sphere and the public sphere of the camp can also show that Dutch wants to dignify his gang by giving it a sense of civilization to make it truly like a home or family.

What an interesting idea, don't you think?

[clegfly]

OMORI and colour- an analysis

hey, so this is a post I’ve been wanting to make for a while and never got round to doing, but here I am.

Something I noticed in OMORI and have continued to notice throughout the game is the symbolism between colours and characters, and what they say about their relationships or their mannerisms, because there’s actually a LOT there, more than I expected.

keep in mind this is a pretty basic analysis and I’m sure there’s much more to be discovered, but I haven’t fully learned everything there is to know about colour theory and so this isn’t really my field of knowledge, I just wanted to share my findings.

also, spoilers ahead, so beware!

Filling in the wheel

This is a basic colour wheel, and the model I will be referring to throughout this analysis.

in OMORI, and even in external items outside of the game like merchandise each of the main cast are associated with a specific colour.

for example, SUNNY is associated commonly with yellow throughout the game. Here’s a small chart I made to keep track of my references…

I’m sure there’s more but here’s what I’ve got.

so now we know where sunny stands on the colour wheel, in the yellow region.

the rest of the cast can be easily identified on the wheel- KEL clearly falls into orange, HERO clearly falls into blue, MARI clearly falls into purple, BASIL clearly falls into green and AUBREY clearly falls into pink.

But wait, that’s not the complete wheel.

you’ll notice AUBREY’s positioning differs from the rest of the group, and that’s because I’ve specifically put HEADSPACE AUBREY in that section. Where REAL WORLD AUBREY actually falls is on the red segment of the wheel as that colour is better associated with her emotional state and also slots her better into place on the wheel.

So that means the rest of these midtones represent the rest of the HEADSPACE counterparts, right?

You’ll notice one more blank space, but let’s put that one aside for now. We’ll fill it in later. For now let’s begin to focus on the relationships between these segments on the wheel.

Complementary colours

Complementary colours are defined as “pairs of colours which, when combined or mixed, cancel each other out (lose hue) by producing a grayscale color like white or black. When placed next to each other, they create the strongest contrast for those two colors. Complementary colours may also be called "opposite colours"”.

in other words, these colours complement each other, and are paired together as they are the most striking next to one another. They are opposites, but belong together.

so, who do we have complementing on our OMORI wheel?

Now, this is quite complicated to look at but I’m going to use what I think is probably the most important relationship in the game and use it as an example.

MARI is commonly associated with purple throughout the game, so much so that it’s constantly in our faces. The main colour for SUNNY’s headspace where he escapes the tragedy of what happened to her is purple, AUBREY laments about a lost promise of dying their hair purple and pink together, MARI gets a grape flavoured (purple) popsicle in one of the photos in BASIL’s album, etc. she’s very clearly shown to be “purple”symbolically throughout the game, no question there.

and as for SUNNY, as we’ve gone over earlier, he is represented by yellow.

so when we reference our colour wheel once having placed these two in their respective spots, what do we see?

MARI and SUNNY complement one another.

And we see this consistently for other key or contrasting relationships through the game. HERO and KEL complement both in the REAL WORLD and HEADSPACE, and so do AUBREY AND BASIL.

They are shown to complement each other, when placed with their associated colours on the wheel.

so, what about STRANGER? Who does he complement with? After all the segment opposing him is empty.

I feel as though there’s only one answer which makes sense for the game.

OMORI complements STRANGER and STRANGER complements OMORI.

but, for OMORI, this seems out of character. The character itself is typically associated with black to represent the repression of the truth and also the darkness behind his actions to keep SUNNY guarded from the truth, so this warm colour feels out of place.

but looking deeper into the symbolism, I disagree. Orange itself represents liveliness, optimism, and enthusiasm, which I think represents HEADSPACE. However red, while associated with anger for AUBREY, is more commonly associated with danger and most importantly sacrifice.

As well as this, this specific hue shows to carry more of a red pigment than an orange.

so I believe this can represent this distracting and overwhelming joy of HEADSPACE whilst having great sinister undertones just Millimeters beneath the surface, something very fitting for OMORI as he’s portrayed in the game. (Side note: I don’t think OMORI is evil, by the way. I’m talking about his actions and portrayal in contrast to HEADSPACE, nor his intentions. I view OMORI more as a robotic kind of character than anything but that’s an analysis for another day.)

so, in conclusion, there’s a lot to be told from this wheel. Here’s a finished polished version for anyone who wants to use it, including some extra notes I didn’t discuss here. If there is anything at all you want me to elaborate on or go more in depth into, or just neglected to discuss at all, please let me know! Thank you for reading!

(PS also open for criticism on the wheel- especially if you know more about colour theory than me! I don’t go into much detail about what each colour association represents within the characters themselves here so that may be for another post)

[catgirlforeskin]

The new CoD campaign might be the most racist game I’ve ever seen. While Modern Warfare (2019) often felt like a barrage of cynical attempts at generating controversy through shock value moments to the point where the entire experience was numb, Modern Warfare 2 (2022) feels like it was spawned directly from the collective unconscious of every uncle you avoid at thanksgiving because he watches 7 hours of Fox News a day and can’t shut up about it, and it genuinely worries me the effect it’s gonna have

Some highlights include

The game opening with you doing a missile strike on an Iranian general who’s an obvious stand-in for Soleimani. The game portrays this unlawful assassination as an unambiguous good, and the only characters who talk about it as an international crime for which the US military needs to be held accountable are “terrorists” we’re supposed to dismiss

The main plot following this is that, in revenge for that assassination, some other Iranian general is going to get smuggled over the Mexico-US border by some cartel with a missile of his own to strike at the suburbs or whatever.

To give the game the tiniest amount of credit, a character does say that this idea is stupid and that terrorists don’t cross over the Mexico-US border, but that’s why the antagonist is doing it, because it’s unexpected or whatever. The whole thing is really fucking stupid

In one mission you play as two Mexican special forces dudes who try to stop the guy from crossing into the US. The mission opens with border patrol harassing migrants that the antagonist used as a “decoy” so he could cross somewhere else.

You then chase him into the US and go through a town harassing civilians in their homes and asking them where the guy went. You’re prompted to “right click to de-escalate!” which makes you point your gun and threaten them. Most of these people are Mexican immigrants.

Towards the end of the mission you get stopped by American local cops who are threatening you and being racist, but then they get blown up by a rocket launcher right after and it never gets addressed again.

Later you get sent into Mexico with an American private military contractor because they have “less red tape” with unlawful killings, this is shown to be a good thing though.

The game treats Mexico as a Mad Max wasteland where cartels control everything. It handwrings about how awful it is that the military and police are corrupt there and that the cartels target children with their propaganda and let them have guns, and the game of course has zero sense of self-awareness about this.

The two “good guy” Mexican special forces you work with are part of a squad called “The Vaqueros” which feels on par with Overwatch having every Japanese character be a ninja.

You kill hundreds of soldiers in the Mexican Army, just like the normal one, but the game says it’s ok because they were probably all secretly part of the cartels. You then use the pmc gunship to kill hundreds more while destroying towns and farms in the process. It’s never remarked on besides “wow cool explosions, team!”

You finally capture the other Iranian general but have to let him go because of international laws, which are shown to be bad and just slow the good guys down

The quotes that play when you die aren’t anti-war now, they’re either explicitly nationalist crap, are quotes FROM CALL OF DUTY, or are generally inspirational quotes.

And I’m only HALFWAY through the game, and I didn’t even mention everything!

The game isn’t co-op but I’ve been playing through it with my wife in call (she’s generally the one more into CoD), and the one positive thing she had to say is that the Spanish is generally good and sounds like they actually got people who regularly speak Spanish to write and voice act, like they use slang that her dad and her family in Mexico uses and whatnot.

[canonmisogynyvictimstournament]

PROPAGANDA

KATHERINA MINOLA (THE TAMING OF THE SHREW) (CW: Domestic Abuse)

1.) We had to read this for English my senior year. I got so mad at the way she's treated. She's the titular "shrew" of the play. She has to be married off before her younger sister can get married, because that makes sense.

Then the most dogshit man imaginable comes along, and everybody thinks they're perfect. He literally gaslights her and denies her food and water.

Fuck Petruchio and Katherine Minola deserved better!

2.) Literally the whole play is about how she is so awful that the main guy needs to change her entire personality, which he does as a challenge not because he likes her, and then proceeds to her abuse her for the rest of the play. Yet, he is portrayed as the hero, not a villain and she is shown to have "improved" at the end. People will say, oh it's open to interpretation, it can be played different ways, it's satire, but i don't find abuse funny and there is a distinct lack of commentary in the play to count as satire imo. Taming of the Shrew is a tragedy not a comedy, I will die on this hill. Kate deserves better!

3.) The title isn’t joking, ya’ll. She literally gets broken like a rebellious feral animal and it’s treated as a happy ending.

BARBARARA GORDON (DC COMICS) (CW: Ableism)

1.) Famously fridged in 1988, which was so popular with misogynists it became canon. After almost 2 decades of being one of the only disabled characters, was rebooted to a younger, more fun version of herself whose only history is that she was fridged but not disabled by it.

2.) The Killing Joke is one of the biggest comic examples of a female character getting hurt to motivate male characters. Also tbe way different cannons will trade off who her romantic intrest is out of Batfamily is pretty disturbing ranging from Bruce Wayne in Batman the Animated series universe (ew) to Tim Drake in the Arkham games (ew). Not to mention DC now is not letting her grow out of being Batgirl taking away her legacy of other young female heroes taking up her mantle and her getting to mentor them instead forcing her into a Batgirl cycle of purgatory when she was always better as Oracle (Its a little more complicated in the new Batgirl book but its still not solving the issues in a way that feels meaningful enough to make up the damage).

3.) Was shot as angst value for Bruce and her dad, implied to be sexually assaulted in The Killing Joke with absolutely no respect for her long career as Batgirl. When Alan Moore asked if he could, the editor said "cripple the bitch." She became paralyzed from the waist down. THankfully, an actually good writer picked her up from there and then wrote one of the best stories ever written (Oracle Year One: Born from Hope). Was one of the most iconic disabled characters in comic book history, hell, as Oracle, she was definitely up there as one of the most iconic disabled characters ever as well as a fantastic character, period. There were a few moments where people kept trying to make things out of her disability and had her be shitty to other women for no reason but for the most part, she was awesome. During her time In 2011, Dan Didio and some other misogynistic/ableist comic book writers were responsible for "curing" her disability and forcing her back into Batgirl, despite her having shown absolutely no desire to do so, as part of the New 52. They also made it an editorial mandate that she couldn't have glasses, a cool secret base, and her time as Oracle couldn't be referenced. This was because those writers were nostalgic for the 60s Batman show where Babs was played by an actress they all had the hots for and couldn't accept she'd grown up and moved on. That was bad enough, but over time, she's been increasingly deaged and reduced even further to just Dick Grayson's on and off again girlfriend and a generic girlboss. Batgirl of Burnsides burn in hell.

[grollow]

What are your opinions on the pale king?

Oh boy. Uhm. This feels like a massively loaded question considering that I know that Pale King-related discourse is very common in this fandom but I'm feeling brave today so let's go. Prepare for a long reply, anon, hope you're ready for Ashe to actually write their headcanons on main.

Well first off, I think the fandom does the character a grievous injustice the majority of the time, which is exceedingly frustrating considering that he’s one of the few characters in the game to have any nuance at all. The majority of the fandom either goes out of their way to demonize him (by far the most common sentiment, which is infuriating), or they make him way too sympathetic and/or try to excuse/write off/defend/redeem him for the horrible things that he’s done in the events of the game. Both of these stances ignore that the character is layered like an onion and deserves to be treated as such.

I’m gonna address the demonizing thing first, because it’s more common in fanfiction which is where the majority of my followers found me, and is also where the mass of my experience can be found. Demonizing PK as “ruthless, evil baby killer” ignores the fact that he was put into a no-win situation as king of a kingdom that was entirely reliant upon him (whether by his choice or not is unclear, canon makes it obvious people are inclined to follow wyrms but we do not know for sure if this is something he wanted or just incidental). His own dialogue and actions show us that everything he did, he did with a heavy heart. He did not do these things to be cruel, he did not do these things thoughtlessly, and he certainly did not do these things and forget about them.

PK in essence was presented with next to no options to defeat an enemy that was willing to stop at nothing to get what she wanted; she was willing to kill countless people, with no thought for what all she harmed and damaged along the way. He was king and responsible for those people’s lives. He had to do something.

We don’t know what he knew going into the vessel plan. Based on Monomon’s studies, and the Pale King’s own, we can assume that he probably tried other options. We have wingmoulds and kingsmoulds to show us that he absolutely was experimenting with void before he reached the conclusion of sacrificing his own children. He had to have come to the conclusion that this was the only option that he had. Based on the seal on the Abyss, it’s one that he regretted, found disgusting, and if you take his death in White Palace to be from guilt (which I do), it’s one that he never forgave himself for. “No cost too great.”

Vessels by design are supposed to be empty. I do not think this design choice was to be cruel. I think he tried to design them not to feel not only to protect them from Radi but also to protect them from experiencing what he was asking of them. And I truly, 100% believe that by the end, he realized he’d failed. That Hollow was not empty. He just had no other option, his grand be-all end-all plan was relying on their success.

(Note: My headcanon is that World Sense is PK’s apology to Hollow, in his own way. I also headcanon that PK foresaw Hallownest being saved in one of / all of the endings, and all of them involved Hollow having to be sacrificed. I believe that he died of guilt for doing what he thought he had to.)

So with all of this in mind, though: How can you demonize him for a choice that he made, that was a no-win situation? Is it a wrong choice? Probably. Were there better options? We’ll never know. What we do know is it is not one he made lightly. He knew his acts were monstrous. He did not go into these decisions thinking himself a hero. He locked himself away afterwards and it ate away at him slowly. Heavy is the head that wears the crown. He lost everything in an attempt to save his kingdom from dying to the Radiance. Whether you like him or not, you have to acknowledge the fact that he did think that his plan would save his people. That his end goal was a good one.

(And I will not get into arguments about colonizing / conquering / etc. I do not think this is usually a source of discourse, but when it does come up, it’s usually in defense of the Radiance, who is as guilty as he is of the same damn shit. @ruthlesslistener wrote a post on that subject that I’m sure I’ve reblogged. There’s no point in me repeating it.)

So with that in mind, you might be asking yourself, “So are you not a PK apologist?” And the answer is no. He’s done fucking horrible shit and I am not sorry at all for him. I do not pity him. I do not think he deserves forgiveness. I do not think he deserves to be redeemed. There’s a big difference between understanding the reason a character does something and agreeing with it. Most of the time, when people try to redeem him, it is either erasing the whole baby pit thing (either by time travel or just simply saying it Never Happened), or altering Hollow’s perception of that act (as if they are the only one who was hurt by that act). In the case of the former, you are no longer writing the Pale King. You are writing a wyrm shaped guy. The choices he made exist for a reason. Wiping them out, without good cause, drastically alters his character. I understand people think he has a cool design/character motif, he does. But that’s not even the tip of the iceberg of what makes him an interesting character.

He isn’t a villain.

He isn’t a hero.

And he would not want you to redeem him. He sure as fuck didn’t try to redeem himself.

Let him be morally gray. That’s what makes him a fun character to write and an excellent plot device to include. Let him be complicated. He deserves at least that much.

[heartbeatbookclub]

I think it's sorta weird how the Protagonist (MC, Y/N, Stinky, whatever you wanna call him) is treated within the context of DDLC's meta.

That sentence came out weird. What I mean is that on terms of DDLC playing with the 4th wall (in other words, on terms of its actual existence as a visual novel in universe), the nature of the Protagonist's...well, entire existence, is up in the air.

Dan Salvato literally stated that he doesn't actually see him as a character in the same way as the girls. He's a "blank slate that says whatever is convenient." In a different statement, he's described as the "nameless, faceless self-insert character that you find so commonly in romance games", which I think is a good way of putting it. It's a good way of justifying why he kinda...sucks, because he's meant to be a typical VN protagonist. He's shallow, and responds with little more than what makes sense in context, because he doesn't have much character on his own, which is what makes him pretty bad at dealing with delicate issues like with Sayori.

In DDLC+ (spoilers, I guess?), it's a little bit vague about it, but in one of the mails, it states that Monika has literally "manufactured" a new character to "force interaction between her and the user". This character is heavily implied to be the Protagonist of the main DDLC visual novel that we know, and he is, as stated, noticeably absent from the Side Stories, because Monika didn't actively create him to be there.

Except...he isn't.

He doesn't physically appear, but in Trust, though he's obviously not mentioned by name, it's implied that he does exist, because when asked to act like a "normal person" responding to the Literature Club, she imitates a friend of hers who says "Literature is stuuupid. I'm joining the Anime Club."

...Remind you of a certain someone?

I feel like I'm overexplaining this, but my point is, it suggests that the Protagonist as a character isn't just something Monika invented out of thin air, or at least he's heavily implied not to be.

I think there's a larger conversation on the vague way the game itself treats the world outside of what is defined within the limited scope of Doki Doki Literature Club. Fans have filled gaps of different characters and events, but it's important to acknowledge that they're gaps filled by fanon, not canon. I think those gaps are left very intentionally empty, mostly to play into the conceit of the world, being that literally nothing actually exists outside of its boundaries, because it's a visual novel. It's a limited, constricted reality, where things are implied to exist outside it, but they actually don't.

In other words, Monika did apparently generate all that makes up the Protagonist as a character and vehicle for the player in the main game, based off the limited concept implied by their interaction in the Side Story. Or, rather, probably by something else, since the side stories are inherently a "Control Simulation" where Monika doesn't have any sense of meta awareness. It's a prequel set before the main story, but...well, if you really think about it, it's implied to tie into the main story, but they don't directly link up, do they? If it's not explicitly shown on screen in the main line Doki Doki Literature Club, did it even happen?

Either way, the Protagonist is a character independent of Monika's creation, he's just given absolutely nothing, and technically doesn't even exist outside of what's implied of him. Technically, the character Monika creates as a vehicle for the Player has no real relation to him, outside of being Sayori's friend and wanting to join the Anime Club. Or, depending on your view, he does! Since he's the literal manifestation of that character concept where it didn't exist previously, it's fair to say that he is that character given life!

I don't know, I think it's just kinda fascinating in context. I don't really like a lot of the extra lore surrounding the whole thing in +, but there are plenty of interesting things like this which have been given just enough flavor to be interesting.

Obviously I don't think this means the Protagonist is a complete non-character and any & all fan interpretations of him should be defenestrated (quite the opposite actually, reality can be whatever you want, I have a few concepts with him floating around my head which I find fun to play with), but I think this sort of thing is probably important to keep in mind on terms of actual investigations of canon.

[wataksampingan]

Very long Chapter 96 feelings/thoughts below cut coz I saved my hard-earned Naver cookies for this and I'm going to react while it's fresh dammit.

Spoilers in every possible way, as always.

Oh my God its their first official date and of course it doesn't go Theo's way at all coz he's fighting a lost cause against an author with a sense of humour I share. Thank God his people love him

Nearly 100 chapters later and only now do we start steering towards Therdeo "My angel" Lapileon from the prologue (which I still find it difficult to fathom; the road is long and arduous from Therdeo 'Face as Red as My Eyes' Lapileon we see right now)

I have yet to translate the dialogue properly, but that last panel of him honestly unnerves me (and judging from Google Translated comments in Korean, I'm not the only one.) I'm not really one for the kind of ML who is madly obsessive over their love interest to extremely difficult extents coz I'm too old and cynical to see this as a good thing in a relationship, fictional or otherwise (This is purely a personal preference; no judgement if that's your jam and jelly)

But the thing is that it makes sense. Of course Theo would get dangerous over the first woman he's fallen in love with. Of course he'd do anything to keep her now that, yknow, she's actually made her feelings known. After 90+ chapters of angsting, literally watching her die a few times in front of him, holding such huge feelings of guilt for what his blood has done to her, quietly despairing over keeping anyone close to him coz he's a Lapileon and they succumb so often to death -- this overwhelming fear of losing her is understandable. The idea of her leaving now must be intolerable, like "not after every damn thing I've been through. Everything we have been through. Over my cold dead body".

...I've had the thought quite a few times that seungu succeeded in convincing me that Theo is scary, and this chapter - while also very sweet - is really laying that fact out again in no uncertain terms: Therdeo Lapileon really shouldn't be messed with.

The thing is, meta-wise, there is no end to cold, stern dukes of the frozen North with fearsome reputations, black/dark hair and red/dark eyes - it's one of the most longstanding fantasy romance tropes in manhwa after all. Throw a stone and you'll hit a milord with a chest so wide you can fit a full dresser sideways between his shoulders and a face so stony Medusa is taking notes. And of course, his grace is going to have the reputation of Ultimate Warrior and Sovereign of His Land, Tamer of the Terrain, Reviver of the Barren Soil Now Made Fertile under His Leadership, because only such a powerful man with a heart of ice and terror would have the wherewithal to bend the unyielding north to his will. He isn't emperor/king simply because of circumstances (TM), character and/or choice.

To name just a few: Prince (...kinda? Sorta? Its a long story) Killian from Like Wind on a Dry Branch, Hades from I Married the Main Lead's Dad, Riftan from Under the Oak Tree, Kandel from I Thought My Time Was Up, Milian from Karina's Last Days; heck, even the other Killian from Not Your Typical Reincarnation Story is about to inherit a territory that isn't so great but which he will no doubt develop into a thriving land coz he's Capable that way. If you remove the hair and eye colour conditions, there are even more examples. 99% of them are said to strike fear into the hearts of men just by being mentioned in a room.

...ngl, putting my gigantic bias aside, Theo truly is among my top three scariest ML. Not even Killian (Rieta's) gives me pause the way Theo does, and I have immense respect and admiration for the way Like Wind on A Dry Branch is told (and translated). I know Killian is a powerful man; I feel Theo is threatening. (Brief aside here to acknowledge that Killian has game for days, while Theo is....... look, he's trying.)

Take this opinion with many grains of salt, but few MLs that I've seen so far (and admittedly my repertoire is probably very limited compared to others) has come close to the time Theo plain snapped during Celphi's bullying arc, and when he nearly decapitated a wholeass princess in front of the entire court because she killed his wife (again. And yes, justifiable but still, in front of the EMPEROR HIMSELF.)

Also, the man looked like THIS when the servant who poisoned her begged him to "go back to the princess":

I say this with all love: Theo is not a balanced individual.

We already know this is a world where medieval torture is par for the course, but so far it's been reserved for Gen, who tortured and experimented on a child, and this dude who's been an accessory to Dodolea's crimes since the beginning. Theo does not give a single fuck about trivial things like consequences when it comes to Celphi and Perry's wellbeing. The world will burn if it must, just so he can find out who hurt them.

I said before that Saoirse is a true Lapileon, and Theo was the softest hearted of the siblings. I still maintain it's true, but with the addendum that Theo isn't far off in ruthlessness. You just need to make the mistake of hurting his wife or his son.

Granted, the obsession is only a problem if he restricts Perry just because she's "His". And she's proven a few times that she will Do Shit She Wants regardless of the Lapileons, Princess Dodolea or even herself (god, the way she second guessed herself so hard, only to bust back into the room with those shackles and physically FIGHT MIA OFF in ch 92 - Phineas owes her impulsiveness his life literally). I don't think the story can logically progress that way unless Perry has some sort of personality transplant. And I trust seungu too much for that. The fear is in more what he'll do behind her back (please don't Theo, we've been through this, you know what happened the last time you did things without telling her first - and even if other things went well (like suppressing ugly false stories in publications) that doesn't guarantee you're doing the right thing by not keeping her informed, you walnut.

...yes I know she also has the same bad habit of Not Telling You Her Business but she's LEARNING. I think.)

...also, tbf, Theo doesn't need his obsession to make him a danger to his own love life. Romance or not, he's still Socially Awkward and Fucked Up so lord only knows how many awkward mistakes he's going to make trying to actively court his wife 🥲

Then again, it's not like she's any better considering her last serious relationship was so awful, she literally died and went back in time. I'm not surprised, and in fact quite glad, it took her this long to admit to her finer feelings. However, now this is slightly uncharted territory, and this woman bottles up her feelings and lies to herself just about as much as Theo does. (Why are you so bothered Mia spent so much time around him? Why are you so upset that you can't do more to help him? Why are you so worried whenever he's seemingly avoiding you? Why do you look away each time he gives you puppy dog eyes, Pereshati? HMMM? WHY INDEED)

And now they have to return to the capital with all these revelations, and be within reach of the imperial family again and I AM AFRAID FOR THEM, PRECIOUS, I TRULY AM.

On a completely different tangent: I am truly not a fan of the novel ending where Theo ends up being crowned emperor. So if this manhwa ends with the coronation of His Imperial Majesty Emperor Therdeo Lapileon and Her Imperial Majesty Empress Pereshati Jahardt, I will be heartbroken. Like, I would have the same reaction to it the way Game of Thrones fans reacted to Season 8. That's how bad I would take it. I hope to all things good seungu deviates from there as well. It feels like the romance is following the novel just a smidge more - a soupçon if you will - in this season, so I'm a little trepidatious about what other aspects might follow. I remain a big fan of how different the manhwa direction is, so... GO SEUNGU!! FOLLOW YOUR STAR!!

P/S: my train of thought while reading ch 90:

Seungu is just bringing all of Phineas' personal trauma in full technicolor when he flashes back to his younger self witnessing his parents fight while his older brother sustains a severe eye injury, oh my god. This poor boy - no wonder he wanted to run so badly.

Oh god, Gloria having to try and save her children from this insane man.

Okay, so this cements that it was Theo's grandfather who was tyrannical as fuck and abused everyone including his youngest grandson? not Theo's father who also looks like he was just Trying His Best? But Gen's dialogue mentions "abeoji" (father)? Did Phineas' older brother neglect his kids or grow up into another abuser??? oh GOD THIS FAMILY

PPS: I cannot WAIT to see how the English translators handle that panel in ch95 when he finally finds enough braincells to return her embrace (that's not just any hug, cmon - that's a full on, no holds barred, literary Embrace)

I'm fairly sure she said "It's/I'm cold", but I also got overexcited because I thought she said "I like you" (???) It's easy to overlap/overhear either phrase as each other coz they sound fairly similar if you say it quickly (same energy like saying "suki" in Japanese but you need context to know if they mean they like a person or something else entirely).

Either way, it was definitely NOT "saranghae", which let's face it, IS FAR TOO DEEP for where they are right now. These two doofuses have only just begun to find out what their feelings mean, tho Theo may be too quick a study , eomma help.

PPPS: Ep 87 comes out in English tomorrow morning (for us in GMT+8 anyway) AND I WILL HAVE WORDS ABOUT THAT CONVERSATION, VJFHDJSKSKSL I CANNOT WAIT

PPPPS: it just occurred to me that all the examples I mentioned about the other comparable dukes of the North have more or less Definitively gotten together with their love interests, emotionally and/or physically. I mean if someone came up with a gantt chart/comparative timeline/line graph of when each duke finally kissed/tumbled into bed with their love interests to prove me wrong/right, that'd be fantastic but anyway

Theo has only just hugged her in ch 95.

They have shared a bed for over 90 chapters and it is ONLY JUST NOW that there is prolonged bodily contact apart from holding (often gloved) hands.

...I keep saying this because it's true: I love this slow burn so much.

[stoat-party]

Evaluating Which Details Pose Continuity Issues (yeah, it’s long, sorry)

I’m being relentlessly annoyed by (some) people mad at the show and by (some) people mad at people mad at the show, so let’s clear up where the issues are and aren’t so we’re not just talking over each other here.

Destroying the Strip

Obviously not a retcon. Retcons refer to previously-established events. Some people might have their own problems with it (I definitely saw it cited as evidence of a coordinated attack on New Vegas), but it presents no continuity problems.

2. What exactly is a vial?

I don’t think this changed ghoul lore. They can still go 200+ years without turning, or they can start turning as soon as they get ghoulified. There’s just a new plot element where they can stave off the effects of going feral for awhile if they take this mysterious drug - without the drug, the rules are still the same. The story was NOT clear on this, and it confused me, but if ghouls need drugs to stay sane, Oswald, Dean, Billy, etc. could not exist even if there’s a massive industry in vials of goop that’s never been mentioned before.

3. It took Vault-Tec decades to build all the vaults.

This is something I worried about because there couldn’t have been much time between the boardroom scene and the bombs falling (Janey doesn't age). But I think it makes sense if you assume the vaults were already built and they filled them with experiments afterward. It does leave the problem that some vaults were unfinished but Vault-Tec also dropped the bombs - why would they do that before finishing their vaults? It’s possible that they planned to drop them but got beat to the punch, or any number of other explanations. Clear retcon but not a huge plot hole.

4. House is worse than Caesar all of a sudden?

This one’s a private gripe of mine because House and Sinclair were not originally written to be Actual Sadists Who Hate Humanity. There’s also House’s mastermind prepper attitude toward the apocalypse, which doesn’t indicate that he had a hand in orchestrating it. While the change doesn’t conflict with the text as far as I know, it really changes the flavor of the game, but not as much as:

5. The Fall of Shady Sands

Let’s say that this happened after the first battle of Hoover Dam, so no continuity issues with their ability to win that. (That’s probably why they set it in 2277, so the NCR would have almost four years to recover before NV. As if Caesar wouldn’t have taken half of their land by then, even with his armies crushed, but ok fine he’s going through a divorce, he’s busy right now.)

But are you telling me that a country can lose a massive city containing much of its infrastructure, most of its central government, and ~5% of its population and still be trying to manifest destiny four years later with no mention of it?

Losing the Divide as a travel route almost crippled the NCR in the Mojave for awhile. Now, not only have they lost the Divide and their capital city, but one of their other biggest cities, the Boneyard, is abandoned and inhabited by an apparently-unaffiliated town. (Yeah, Los Angeles is big, but we don’t see any NCR or Followers despite three main characters traveling through it.) Even if there were still people there during New Vegas, how is the NCR still conducting a campaign in the east?

Also, who is Muldover and what’s her position? Why does she have raiders at her disposal? Is that really supposed to be what remains of the government? I get that some of this will be resolved later, but short of complete societal collapse, there’s no explanation.

We don’t see any of this in New Vegas. The president (who was in office in 2277) is still alive. No one mentions losing family in the explosion. Caesar, Ulysses, and House, along with the many other characters who complain about the NCR’s weakness and instability, don’t bring it up. People even mention the politicians in Shady Sands specifically. PEOPLE ARE MAKING JOKES ABOUT WANTING A NUCLEAR WINTER-

Now there’s a saving interpretation going around that “the fall of Shady Sands - 2277” refers to a metaphorical fall, and the explosion was later. I’ll accept this if I have to, but don’t pretend it’s not a strained reading. Every entry on the board is dated. Why would you date an amorphous event and not date the city exploding?

The explosion was nineteen years ago, and it had to be that early because Lucy and Norm don’t remember living there. (Not clear how old they are but probably in their early-mid 20’s.) The earliest you could place the event without it making no sense is late 2282, because with the time skips in DLC, the events of New Vegas are about a year long. Maybe you could put a gap between Lucy returning to the vault and the actual destruction, but not a five-year one. And if it was in 2282, Max would still be a teenager.

There are legitimate concerns here. Between House and the NCR, the show changes a lot about the main conflict of New Vegas. It’s not just side details.

Not telling you how to feel! Just don’t pretend nothing poses any problems and people are crazy for being concerned. I think the vibe right now is to dismiss me as a hater, but I hope you can see I’ve tried to make it all work. Continuity is really important in a multi-decade story, especially to writers.

I will be appeased by a respectful and thought-out New Vegas remake that preserves as much of the original continuity as possible and is also really good and costs $4. Thanks in advance Bethesda.

Edit:

6. Tatoes in the vaults

TATOES IN THE VAULTSSSS? THIS IS MASSIVE DISRESPECT TO THE LORE. EVERYTHING WE KNOW IS DESTROYED. UNFORGIVABLE.

(but yeah there shouldn’t be tatoes in a vault that hasn’t opened)(maybe norm and lucy had seeds in their pockets when they came back, sure)