#It just felt so childish:((((((

[lyinginthesnow]

thinking abt that line in dundee when logan says shiv makes boogie men out of the clothes she dumps on her bedroom floor. always has.

[lichenbug]

HIIIII ik its like two am or whatever but i changed my username :P!! its meee hiii hello !!! hiiiiiii

[nightfal1n]

In side-B Narumi started out not wanting to have his effort known but fast forward into the the present time and he's seen hogging a camera drone, getting mad at newspapers, searching himself on twitter where his subordinate can see, and doing delinquent-style staring with Hoshina like he doesn't mind letting others know he wants attention anymore. Got me thinking about what happened in between. Like having Mina who is also recognized by Isao while doing everything he hates (letting others support her, valuing teamwork, taking responsibility) and even beat him in her specialized category...and such

[forcedhesitation]

I definitely do not have the time for a full essay's worth of commentary on the Casting of Frank Stone, but I definitely could give you that if I did. There is...a lot to take apart there. I am certainly...fascinated...by some of the writing & gameplay choices they made, to summarise my thoughts somewhat vaguely.

A few spoilery comments under the cut.

Like I said, I don't really have the time to offer extensive analysis (a full paper) of the game, but I do want to say a few things.

First and foremost: Do not purchase this game. In the words of Mr. Otzdarva himself: Go and watch someone play it instead. Your play through will be 95% the same as theirs. It is not worth your 50 dollars. If you still want it after you've viewed someone else's playthrough, that is your own right.

I honestly became annoyed with the writing much faster than Mr. Otzdarva did, and at first I thought it was because I was spoiled by BG3's infinitely better writing. But no, it's rather that he was being very patient. He finished with a rather negative opinion of the game, after thoroughly going through it to test just how much control you as the player really have.

I will be fair-- It is certainly a visually stunning game, as far as Supermassive titles go. Much better looking than The Devil in Me. The music is also incredible. And some of the voice acting was well done and added much needed life to otherwise bland characters.

But good grief is the writing utterly nonsensical!! Even if you respect the "a multiverse exists, so anything is possible" fact which is canon to Dead by Daylight itself, it still doesn't make any damned sense. I mean, is it ever explained why there is time travel involved? Or how it is even possible? Did they simply expect people to just assume that Augustine figured out time travel in a certain timeline? Does it have something to do with the Entity, since it can clearly traverse time? If so, why was Sam able to voluntarily time travel to Madi & elder Linda's timeline? Why and how the FUCK is Frank Stone first bound to the mill and then camera using what is clearly the same magic as the horologium, when we know the Entity has not yet been brought to that timeline??

And playing the "anything is possible" card would be fine to explain certain things, I will concede, but it really starts to feel meaningless when you realise just how many massive plot elements are never explained and that none of your choices really have any impact on the ending of the game. The story literally ends the same no matter what you do. And to be fair, I do not think it is a bad ending at all. Barring the corny "trial starting" sound that they jammed in at the last second, I thought the ending was one of the better parts of the game. It works great to make you feel hopeless, and like there is truly no escape from the Entity. I just feel that this format of a "your choices impact the outcome of the story" game was the incorrect format for the story they wanted to tell. Because it truly doesn't even matter if you get everyone killed, or you save everyone-- everything happens the same way and the world's fate is the same.

There are other things that bothered me, too. I thought having Frank Stone appear as this corny, glitchy spectral monster for most of the game was...a terrible choice, both design wise and writing wise. Now, I do not think killing him in the opening was necessarily a bad decision. I honestly thought it was a bold choice that functioned well to surprise the viewer and urge them to continue, so they might discover how the story plays out after the death of the titular character. But keeping him as this ghoulish creature, that honestly looked as though it were from some solo indie developer's first low budget horror game, was awful. He did not feel threatening whatsoever, just wildly out of place in a visual quality sense. I hate the final design much less, it is certainly much more threatening and much, much more gruesome, but it still does not make sense as to why he looks that way. The Entity still had not taken him, why did he appear as this inhuman monster before his entry into the Fog? They should have kept a more humanlike design until the very end of the game, when the Entity arrives. Then, a transformation sequence where the Entity mutates him should have been restricted to the ending where no one from the cast is seen in the Fog, so players at least get something different in that allegedly "unique" ending. After all, if a cast member does get taken, at least you get to see visions of what followed the 1980s storyline.

Also why did Augustine work alone when she is clearly part of the Black Vale? The excuse of "the cult didn't exist yet" doesn't work here, because she can time travel and is fully aware of the multiverse she exists in. Like... I thought elder Linda's mention of secret passages being for staff "so they are seen as little as possible" was foreshadowing for Augustine having fellow cultists aiding her, but it just went nowhere. Another thing that goes nowhere is the baby that Sam can save at the very beginning. Should the baby live or die has absolutely no impact whatsoever on the story, which feels like an enormous mistake to me. That baby should have grown up to be a character that the cast could have interacted with to gain...oh I don't know, some piece of important knowledge, or an item, that could then later change the fate of the cast. This way, the player's choices in the 1960s segment actually have an impact on later gameplay, rather than meaning absolutely nothing.

I'd also love to know why the hell elder Sam was sent alone to prevent this situation from occurring, when the Imperatti (I think they were called? The parents of the Pariahs, or something, right?) would have surely realised the gravity of this situation? Like, how does this make any sense? And this is far from the only moment that makes no sense at all.

Why do Jaime and Robert have almost no relevance whatsoever after the 1980s segment concludes? Robert is guaranteed survival of this segment, as that part of the game is written so that two characters always survive-- be that Linda and Robert, or Sam and Robert. As annoying as Stan was, I didn't hate him because he had great dialogue that pushed other characters to have different dialogue than what we were used to. But it felt scummy that Robert was just given this sad, offscreen death instead of being included in a lot more meaningful way.

Not going to lie, it reminded me of how in Stranger Things 4, Patrick was the one teenager whose trauma wasn't really explored or given the same respect as the others. It's like the writers went, "Guys, guys! It's okay! We still have the other Black guy! This makes our game Diverse, and therefore no one could possibly complain!" Meanwhile, we get an entire cutscene about Madi's nightmares, and elder Linda's movie career and associated trauma is talked about numerous times. But all we know about 2024 Robert is that Stan took advantage of him, and then he later died, utterly miserable. Also, Sam somehow knows about this and he and Stan know one another, despite this Sam being from a different timeline than elder Linda, Madi, and Stan himself.

And Jaime, poor sweet Jaime, he really just feels like he's there as someone they can conveniently kill to shock the player. The first chance he has to die results in a horrible, very graphic death (although not the most graphic in the game by a long shot) that I feel many players will encounter because they see it as reasonable to visit the curiosities shop first, and then to later attempt to save Chris (even though her fate is the same here, regardless of what you do). And even if you should keep Jaime alive through that first confrontation with the spectral Frank Stone, it's not as though his survival impacts following events. He can die again, when fleeing Frank with Bonnie and an injured Linda. Why they have Linda, who has a gaping hole in her shoulder, attempt to pull Jaime up the platform alone while HIS OLDER SISTER just WATCHES is beyond me. But writing his death, whether it be here, or earlier, to have no impact on Bonnie's fate, or any future events, is plain bad writing.

You cannot save Bonnie, no matter what you do. And this scene makes no sense. When Frank grabs Bonnie, Linda points the camera at him, which should work. There really isn't any reasonable explanation as to why this should not work, or should not even momentarily distract him (Which could have led to a different ending where Bonnie lives and Linda dies instead?), because in the storm drain, so much as yelling at Frank causes him to abandon whoever he's attacking to seek out the new target. I suppose, at the very least, 1980s Bonnie's death does serve some kind of purpose in the 2024 storyline, because it serves as foreshadowing for Madi's potential fate. But just like Robert, 2024 Bonnie is given a sad offscreen death and we never really learn about how she or Jaime survived that night at the mill.

And I will say, it just feels shitty from a player point of view, to make it so you cannot save certain characters. Like, I'm sorry, is that a canon event? Where is Mr. O'Hara? Because Madi must be a god-damned anomaly, being Bonnie's daughter!! And Chris- god- Chris who mysteriously travels through time...I really do hate this part of the story because understanding its purpose can only happen if you manage to get the secret ending where she goes through the projector screen and DOESN'T burn and die. Which would require you to not have taken the pocket mirror or given the "protective" amulet to her. This unlocks a secret ending where she goes back in time to the moment where she, Jaime, and Linda were inintially shooting in the mill, right before Sam interrupted them. I took this as the writers trying to show us that there would be one timeline in which Frank Stone is never released (not sure how he ever was in the first place, really), likely saving them from the Entity. But other than the player somehow luckily getting this ending, I really don't see the point of Chris' time travel, because she can also be sent immediately back in the horologium, which does nothing meaningful. And why does it have to be Chris? Why not write it so it could be her or Jaime, so that maybe the player's choice to have her and Jaime breakup or not actually has some kind of impact on the gameplay?

One of the worst things about the game though, and I cannot stress this enough, is how badly the references to DBD are integrated. I love a good reference-- it can serve to add a little playful flair to a moment, or even go so far as to have the viewer look at the piece from a different perspective they had not previously considered. Buuuut... this is only if the reference is done well. And, well, what this game does could hardly be described as tolerable, even. In was so heavy-handed, it felt almost as bad as product placement in a Michael Bay movie. Many of these "references" felt out of place to the degree that someone with no knowledge of DBD would be likely able to pick them out, because they heavily disrupt either the game's aesthetic or the gameplay itself! One generator was funny, and honestly expected, but THREE of those damn things? Clunky, corny, and honestly? Lazy.

Unfortunately, I feel those three adjectives describe how I feel about the game overall. I feel bad for the people who put hard work into making it, because there is potential there for something great. But it really felt as though they were pushed to release this game as quickly as possible, so BHVR could sell us a 50 dollar, five-to-six-hour advertisement for their next DLC chapter. Hard to think anything else, really, when completion of the game is followed by a a literal ad for it.

All I can say is-- I really hope we get 2024 Linda as a survivor. It seems more likely that it will be Madi, but it is possible we could have a two-survivor chapter (unless they specifically outlined in the roadmap that there are no upcoming 2-survivor chapters?).

Madi and 2024 Linda would be cool though. We have no older women as survivors, despite having more than one older man. I think it's about damn time. And I love the mother/daughter bond that can sort of develop between Madi and 2024 Linda in the game.

[northern-passage]

i wrote a 500 word dynamic poem for neo-twiny jam :-)

i rewrote this in a few different ways with a handful of different drafts before settling on just doing a poem; this originally came from a full branching narrative i've had stewing for a while, and i might come back to it one day. but for now i enjoyed channeling that into this poem, which has also been very influenced by the fact that i've been writing hungry vampires for almost 2 months now.... it was also my first time messing with audio in twine, which ended up being way easier than i expected (i'm sure it helped that i only used one audio sample tho)

faith does contain sexual content, and while not super explicit, it is the main theme of the poem.

anyways hope you enjoy and check out the other entries here!

[glittertimes]

People have been treating me like a stupid little weird incompetent girl with malicious intent my whole life of course I feel like screaming every once in a while man!

[namor-shuri]

“ᴏɴᴄᴇ ᴜᴘᴏɴ ᴀ ᴛɪᴍᴇ ᴛʜᴇʀᴇ ᴡᴀs ᴀ ʙᴏʏ ᴡʜᴏ ʟᴏᴠᴇᴅ ᴀ ɢɪʀʟ, ᴀɴᴅ ʜᴇʀ ʟᴀᴜɢʜᴛᴇʀ ᴡᴀs ᴀ ᴏ̨ᴜᴇsᴛɪᴏɴ ʜᴇ ᴡᴀɴᴛᴇᴅ ᴛᴏ sᴘᴇɴᴅ ʜɪs ᴡʜᴏʟᴇ ʟɪғᴇ ᴀɴsᴡᴇʀɪɴɢ.” x

[scarlettfevor]

Finally got ahold of the audiobook of Penance by Eliza Clark and I have mixed emotions about it. On one hand I love the premise and I feel like it's written well enough to where I feel like the author isn't going to clumsily stumble through her own story and fall on her face at the end like the majority of popular thrillers. But also this story suffers from having someone who hasn't been in school for a long time attempting to write teenagers. The funny thing is that whenever I see a horrible portrayal of teenagers, specifically of zoomers its never like, inaccurate portrayals of slang and trends that most teenagers cringe at, it's extremely unnatural dialogue that I don't understand how even a 30 or 40 year old can't see how awkward and cringe and flat out bad of a portrayal they're doing. You can claim that it's regional differences, even if we were all teenagers once I still don't know what it's like to be a popular mean British girl, but I'm fairly certain that actual popular mean British girls don't go around describing themselves as popular mean girls. The funny thing is that they've mentioned several times that these girls (ok it was actually like one girl but she introduced too many characters and I got confused so I can't even remember the name of the girl who said it) are trying to imitate the mean girls in popular American shows/movies. But I think that it's SO funny how instead of going for the obvious Regina George or maybe the more posh Blair Waldorf, they chose Sharpay Evans....I'm very familiar with the popular mean girl trope because I always love the girls who fall into this category and I can say with 100% certainty that none of these girls act like this either. I don't know what the author is going for but it's very painful to listen to.

[bunnihearted]

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[streetsofsecrets]

Writing the dialogue and lives of children is interesting because it forces me to realize I haven't written from a child's perspective in a long time, and its crazy because I've been making OCs since I was eight.

Mind you, these were not good OCs, but I usually wrote people in my own age range. So, the older I got, the older my ocs got. And even when I was a teenager, I still had some younger ocs scattered amongst my teenage ones.

And adults? Adults were a mystery to me.

Now I'm turning 29 this year and despite having memories of the stuff I talked about and the things I emotionally felt as a child, I haven't written the dialogue for kids in so long I had a moment where I was like

'.........what do they know vocabulary wise? how do they talk?' like they're toddlers or something LMAO

then i got over that once I kept thinking, 'Angela and Antonella are 11 going on 12, they're so close to their teen years - writing their dialogue will just be like writing the dialogue of innocent teens'

[ophthalmotropy]

Someone tagged my post about characters with tunnel vision with Basira and I can't even get angry at them because it's not wrong :/ It fits, but I don't like her.

[sequoiareachesforthesky]

Milgram fic idea: the prisoners are bored (as they always are) and they've already celebrated every holiday imaginable. So someone suggests doing a cross-dressing event for a change. Mahiru, Mikoto and Muu help everyone find the perfect fit (Mahiru sews half the clothes herself to make it look perfect).

A bunch of gender crisis ensue.

[suddencolds]

.

[brofightiscancelled]

fighting yowai....

[skunkg1rll]

so now im sure she is the one who has been sending me anon hate about me being ugly.... 💀

[g0thsoojin]

i love how my bpd brain immediately throw a tantrum as soon as i perceive any kind of rejection :)