#and even some theory posts

[cochineal-leviat]

Sweet Dreams, Stardust

Okay, so I have a lot of feelings about In Stars and Time. But let me say first, wow, this game irreversibly changed my brain network. For anyone who is considering buying this game, please do. I don't think I've had a story touch my heart and mind like this for a long time. And that goes without mentioning the stunning visuals and entertaining battle system. (Be careful, though, because this game handles heavy topics regarding mental health)

If you're still hung up on buying it but are curious, there is a free demo on Steam if you like to try.

Thank you, @insertdisc5, for this gem of a game. I will be turning it around in my head like a microwaveable gourmet meal for months to come.

Technically the illustration has no spoilers (unless you count Siffrin having a good nap as a spoiler). But I will be going into heavy spoiler territory under the keep reading since I need to get my thoughts on this game off my chest.

And a monochrome version because you know me, I can't help myself. Even in black and white art pieces, I will put in some colour.

And a very tiny Loop

Initially, I was going to do a piece with a theatre stage and the cast (Siffrin, Mirabelle, Isabeau, Odile, Bonnie and the head house maiden) taking a bow and finally leaving the spectacle to a life not controlled by a script and Wish Craft. But it was more fitting to put my feelings into creating a peaceful scene. Like, oof, I needed this very badly. I used sepia to make the painting warmer and added some more details like headcanons. The stars/colours might be remnants of Siffrin's transformation. Or maybe they were always there, but he never paid attention to it. Who knows.

I'm going to keep this brief. Otherwise, this post will take way too long.

I adore Siff's character. It's perfect for a game and narrative such as this. I saw a post not long ago on Tumblr going into depth about how their role as the rogue and not the hero works so well, so I won't linger on it for long. But how they would rather listen and fade into the background perfectly aligns with the player's experience of being the silent observer. (And the nodding off that changes into zoning out. It took me way too long to realise that small but essential narrative change) Oh, and the portrait change! It flew over my head until I was staring at the game menu. I was so confident Siffrin had a mischievous grin and not a frown. I always feel slightly surprised when the party asks for Siff's opinion or mentions that they have been too quiet. I felt Siffrin's excitement like my own when he got excited at finding clues to end the nightmare they were in. So I knew it would end up falling on their face because they were too excited. I just had this bad gut feeling the whole time during Act 4.

And oh boy, speaking off acts. I thought it would have been the standard 3. Boy, I was wrong. Whenever I felt I was nearing the end, I was thrown back at the start with more mysteries than answers. It made exploring the game intriguing since there is almost no information about it online (at the time of writing this post). There is the Discord, but I didn't know about it until I finished it.

This game has a lot of secrets, and I had a lot of fun uncovering them. The looping mechanic works so well in discovering little details and further leads. (even though my stubborn arse kept trying to do everything in the least amount of loops as possible. I thought the ending would be different if I exceeded a 100. My final number is 59. I am still not sure if I should be mad about it not being a rounded number like 60 or that I went over the 50 threshold)

However, it is a good thing that only some mysteries were solved. Like, what's up with colours in this world? Everyone sees in black and white, and the idea of shades and colours is only spoken of in scientific studies. They do exist and are not a part of the disaster that happened to Siffrin and their land. But there is definitely something mysterious about it. I adore how the dialogue reflects this, as the characters do not speak of shades or colours. Isabeau expresses surprise to see a streak of red colouring the sky in Act 6. It makes you think about how colour is perceived and how you describe it. (The lore inside this game is immaculate. I eat this shit up)

We never find out the name of the country north of Vanguard or what it was like. We can only infer that the beaches had black sand, with shells that shine like stars, high-reaching mountains, forests and plains. Which is vague and yet intriguing enough to make you wonder. It connected me to Siff and King because I also wanted to know. I was desperate to know. I needed to know. But in the end, we never will know because that is not the story's point. Siffrin even says in the game, that King should let go because he is hurting everyone and everything, including himself, in his desperation to preserve Vanguard. This is all the more ironic when Siff accidentally does the same with his family and the loops. I might gush more about what the country might be like and their technology in another post. This game makes me want to theorise. This is the first time I've wanted to write and post theories. ISAT fucked me up good.

Which, by the way, was genius. Siffrin and King are mirrors of each other. Siff does not have King's disastrous ambition, but their love/obsession will be the downfall of both of them. They have more than being each other's countrymen in common, and I imagine Siff despises that.

I love the fact King's question to Siffrin before the showdown was/could never be answered. Usually, in a game such as this, you must figure out how to solve everything, especially for the big bad. But that was never the goal. King is a delusional monster who will not stop before achieving his dream. He will raze everything to the ground and hurt many people because he must succeed. It is what he desires. Nay, the universe wills it. What a witless excuse that can easily be made into someone's truth. Especially to somebody who is driven mad with grief.

How King's character's done is so excellent. Because, at first, I wasn't scared of him at all. He was just the big bad, and I felt nothing much but the glory of victory when Siffrin outsmarted him by looping and making sure Mirabelle learned the shield spell that would protect the party from freezing in time. But each time you fight him, you get more frustrated until Siff figures that talking to him might be fruitful. It does, but unfortunately, you and Siffrin leave yourself emotionally and mentally vulnerable. King stops being a one-dimensional villain and changes into an actual person. Someone you can sympathise with and possibly mend peace with without fighting. You and Siffrin opened his heart for a kindred spirit and got hurt.

King stopped being a monster and became human. And while monsters are wretched, humans have intent behind their cruelty. I felt so betrayed, so angry, but most of all - terrified. I felt it when Siffrin spiralled when fighting King again after their actions caused such a catastrophic turn of events for Bonnie. Every time after that, the fight with King felt tense and nerve-wracking in a dreadful way. Because even victory could not soothe the dread I felt. (The track 'It's finally over" will forever haunt me. I already feel anxious whenever it cycles to that when I listen to the playlist)

He was not, however, the final villain, even though everything that happened was King's fault. You were always your greatest enemy (or Siffrin in this case, since you are supposed to be Siffrin). I never could have guessed that the whole reason why Siffrin could not escape the loops was because Siff accidentally wished to never let go of their friends. This reminds me of Modaka Magica, where (spoilers for the OG anime) Homura goes back in time so much that the universe ties itself around Modoka, making her a waiting egg whose wish and magic will be massive when she becomes a magical girl. The one thing Homura was trying to prevent.

(Siffrin and Homura are identical in that sense. Shy characters who are loyal to a fault but are rendered into something cold, bitter and cutting by their traumatic experiences. Only Siff has people who care about them and would do anything to save him, too, whereas Homura never lets go, making the world a worse place to live in. Yes, I did go into doomed Yuri. That anime lived in my mind rent-free in my mind for years)

The Head House-maiden not being the villain was also a great touch. I am used to the apparent antagonist turning out not to be the big bad and the trusted, friendly character ending up being the evil one. Twist villains no longer work when everyone expects them to be villains.

That was my biggest theory as I played. The second biggest being that Loop is someone who enjoys Siffrin's suffering. I am so glad that was also not the case. They are apathetic but not cruel. Never intentionally, anyway. They were like the player, urging Siffrin to go deeper into the mystery to solve it. Ultimately, I chose and made cold and cruel decisions simply because I wanted to see what would happen. So yeah, I warmed up to this cosmic star thing as the game went on and even started trusting them. Act 5 really is a punch in the gut. I am so sorry, Loop. Thank you for coming through in the end.

Oh man, this is so long, and I haven't even gone into the main cast. I will leave that for another post. They are such great characters, as are the people of Dormant and the House. (Don't think I don't see the wordplay in this game. Very clever)

Going into this game completely blind was the best experience I could have had. I felt anxious, happy and scared so severely that my neurons were rearranged. I don't know if there are more endings (aside from the obvious action of attacking Odile in the True(?) ending of the game), but I am taking a break from it to make art and write for this game before I dive back into despair-o-land.

Anywho, thank you for coming this far and reading my ramblings. Have a fantastic day or evening further! o(*'▽`*)ブ

[leroibobo]

some of the architecture of zinder, niger. zinder rose from a small hausa village into an important center of trans-saharan trade during the 18th century, culmunating in it becoming the capital of the sultanate of damagaram in 1736.

[front-facing-pokemon]

[sparkles-and-galaxies]

There's nothing wrong with "Kai is the Green Ninja" AUs but I feel like we forget that a) elemental powers are hereditary and b) Lloyd is the descendant of the First Spinjitzu Master. Like forgive me for saying this but I think him becoming the prophesied savior of all Ninjago had less to do with his character or destiny and more to do with the fact that he's the literal grandson of god

which then would also explain how Misako knew before anyone else like

Wu: the Green Ninja will wield all four Elements of Creation at once, just like the First Spinjitzu Master

Garmadon, with baby Lloyd in his hands: oh wow I wonder who that'll be

Wu, patting baby Lloyd on the head: such a mystery indeed

Misako:

Misako:

Misako: are you two fucking stupid

[justastrugglinghotchocolate]

Ya’ll I used to jokingly consider this, but nah, there is enough evidence in the book to suggest:

Henry ruins Dorian out of spite and jealousy towards Basil for moving on from him.

Let’s get right into this. 

I went back into the book because I wanted to review the post I made about Henry and misogyny earlier. Besides the usual annoyance at Henry’s dumb stupid rant, I noticed this line:

“I had buried my romance in a bed of asphodel.”

And then it hit me that Henry’s worst rants about women only come after the topic of marriage, but more specifically, commitment. Which then led to an even more interesting idea: I’m pretty sure Henry mostly uses ‘women’ as cover to complain about Basil and Basil’s ‘lack of commitment to him.’

I want to note that there’s a lot of interesting things in regards to Henry and his relationship with women that I’d love to go into, but this will focus solely on him and Basil.

Here’s what Henry says in his misogynistic ass rant after Sibyl dies. (This is from the 1891 ver):

“But [Sibyl] would have soon found out that you were absolutely indifferent to her. And when a woman finds that out about her husband, she either becomes dreadfully  dowdy, or wears very smart bonnets that some other woman’s husband has to pay for.”

Basil is often considered ‘unfashionable’/‘dowdy’ by Henry’s standards. This is only further proven in what he says about Basil’s disappearance:

“Why should he have been murdered? He was not clever enough to have enemies. Of course, he had a wonderful genius for painting. But a man can paint like Velasquez and yet be as dull as possible. Basil was really rather dull. He only interested me once, and that was when he told me, years ago, that he had a wild adoration for you and that you were the dominant motive of his art.”

But that isn’t all. The last part of that quote matches one to one to Henry’s claim about women (or Sibyl, specifically). Basil was not only ‘dull’, but his only ‘fashionable’ attribute, his art, grew ‘dowdy’ once he discovered Dorian’s indifference to him.

Henry also says this about women:

“Good resolutions are useless attempts to interfere with scientific laws. Their origin is pure vanity. Their result is absolutely nil.”

And later:

“But women never know when the curtain has fallen. They always want a sixth act, and as soon as the interest of the play is entirely over, they propose to continue it. If they were allowed their own way, every comedy would have a tragic ending, and every tragedy would culminate in a farce. They are charmingly artificial, but they have no sense of art.”

Guess who makes resolutions regarding goodness? Basil, who refuses to believe that Dorian is nothing but a good, pure man. 

“[Basil] could not bear the idea of reproaching [Dorian] any more. After all, his indifference was probably merely a mood that would pass away. There was so much in him that was good, so much in him that was noble.”

Basil’s arc traditionally should have ended once Dorian rejects him. Between that chapter and the chapter where Basil dies, there is no mention of Basil in any form. By all means, Basil’s role in the story is over—and then he demands the ‘sixth act’ to confront Dorian.

And finally:

“Besides, nothing makes one so vain as being told that one is a sinner. Conscience makes egotists of us all. Yes; there is really no end to the consolations that women find in modern life. Indeed, I have not mentioned the most important one.”

“What is that, Harry?” said the lad listlessly.

“Oh, the obvious consolation. Taking some one else’s admirer when one loses one’s own.”

Now before I point out the obvious irony of Henry literally 'taking someone else's admirer' (henry actually has a lot in common with his 'criticisms' of women), I want to bring your attention to a key part we don’t discuss enough about in the book.

““Life has always poppies in her hands. Of course, now and then things linger. I once wore nothing but violets all through one season, as a form of artistic mourning for a romance that would not die. Ultimately, however, it did die. I forget what killed it. I think it was her proposing to sacrifice the whole world for me. That is always a dreadful moment. It fills one with the terror of eternity. Well—would you believe it?—a week ago, at Lady Hampshire’s, I found myself seated at dinner next the lady in question, and she insisted on going over the whole thing again, and digging up the past, and raking up the future. I had buried my romance in a bed of asphodel.”

So I’m gonna make an educated guess and say Henry is lying his ass off here. He did not have a ‘romance’ with a woman. He certainly did not get an emotional, romantic attachment with a ‘woman’. I feel comfortable saying this because 1) his general distaste for women literally points to this being bullshit and 2) a significant change that was made from the 1890 version of the book to the 1891 version.

This is the quote in 1890:

“I once wore nothing but violets all through one season, as mourning for a romance that would not die.”

This is 1891:

“I once wore nothing but violets all through one season, as a form of artistic mourning for a romance that would not die.”

Well, well, well, who is the arti—It’s Basil. He’s literally talking about Basil here. AND GUESS WHAT VIOLETS MEAN IN VICTORIAN FLOWER LANGUAGE?

A couple of things actually, but the top three are:

‘Faithfulness, Modesty, and Love.’

Henry emotionally had been faithful to Basil. While I doubt he was monogamous in anyway, Basil held a special place that no else would ever have. Not even Dorian.

And this brings me back to the quote that originally sent me down this rabbit hole:

“I had buried my romance in a bed of asphodel.”

In the 1890 version, it says:

“I had buried my romance in a bed of poppies.”

Poppies are known to mean death and would have fit perfectly if Henry was saying he felt nothing for the relationship, but what does asphodel mean?

‘Love Beyond The Grave’, ‘Remembered Beyond The Tomb’ and sometimes, ‘My regrets follow you to the grave’. 

(NOTE: please keep in mind floriography could mean certain things based on the color and the type of flowers. That being said, considering Wilde described the shit out of every setting he wrote, the lack of detail about the flowers suggest the most broad meaning is meant to be taken.)

Henry isn't over Basil. He couldn't kill the love, so he buried it and took Dorian as a consolation and revenge. He will never be able to get over Basil until Basil or himself dies.

BOY DO I HAVE GOOD NEWS FOR HENRY/s

[gildedmuse]

This is me calling Law out.

He is purposefully making his moves look sexy as possible, and that's the kind of bullshit we need to be calling out.

[cocktopic]

i think my fatal flaw is that i truly believe that no matter who reads it literally everybody can benefit from reading orv. like even tho it’s such a simple message the thought that no matter what I am Loved and Important and i Will survive no matter what was smth that hit me so hard especially in the context orv does it (trying to be spoiler free) making me feel Seen and helped in a way that no other media has. idk. i love kim dokja so much guys

[charcubed]

Look, I personally lose nothing if Lokius doesn’t become explicit canon. And if that were to become the case, I’d also have no regrets for saying for years that that would happen in the show by the end ¯_(ツ)_/¯

I’ve said it before, but by now it would be Disney/Marvel’s loss, NOT mine. Whoever wasted or limited the potential would be the idiot, not me.

I’m simply never gonna feel crazy for noticing what’s happening in a story or silly for daring to hope it’ll be brought to fully satisfying narrative completion. That's just a me thing. Maybe this is because at heart I’m stubborn! But I’d like to think I’m not unreasonable. I can’t control whether writing stays consistent or censorship is overcome... But I just do my best to construct solid arguments, and as long as those arguments remain solid, I stand by them :)

I know not everyone would say the same, or they consider this to be "hope" or "optimism," but I see it as logic based in noticing what the text of a show/story is doing. And personally I also consider blatantly evident subtext to be "canon enough," so if we get my personal minimum, my happiness may still outweigh any potential disappointment for me.

However. Here's what I've come here to say today, in reaction to things I've seen floating around in the fandom:

While I do understand on some level why people worry that Lokius won’t be more explicitly canonically romantic because it could be censored by Disney.... At this point, I don’t understand how people can think Loki/Sylvie will still happen.

As of right now, there’s no way to argue for that in my opinion. (I'd like to see someone try.)

The show has set up a fun but very simple situation from basically the start:

They made romantic love a point of relevance in the show’s story. More specifically, they pointed out Loki's desire for a "real" romantic love, and had him learn the lesson that he doesn't deserve to be alone. They didn't HAVE to do all of those things and tie them together. They CHOSE to make romantic love relevant – and they have actively continued to choose to do that, to the point of including a mirrored dark love triangle in s2 ep3. That narrative thread simply has to be fulfilled.

So if they deliberately established that Loki wants and needs a “real” love, and his relationship with Sylvie was referred to as "fiction" so she cannot be a real love for him.... Who does it have to be?

Obviously it has to be Mobius. And of course, the whole show points to Lokius also, for countless more reasons than just this simple breakdown. But pointing this element out is the simplest argument one can make.

So either...

1. They take Lokius to full narrative completion with explicit canon, as they should and as I expect them to,

or

2. Loki's desire for a real love is left unfulfilled, open-ended, and/or made clear through subtext that it's Mobius.

Those are the options, if you ask me!

This is aside from how Lokius’ love story is now even at the core of the show’s themes and plot, which is an insanely strong vote in favor for their future canonicity.

But for the purposes of this post, I’m talking about whether we'll get explicit romance specifically, like a love confession or a kiss – and I do actually genuinely think we'll get both of those things. I'm not trying to force you to agree with me, but just to be clear, that's where I'm at with it and have been since 2021 lol.

So in regards to worrying about Loki/Sylvie...

They were never really a romance (yes, even in season 1) and they sure as hell aren't now. I can’t imagine they'll become one even IF Lokius is left subtextual.

So what actually remains to be seen is if the writers got to go all the way with Lokius, or if that central queer love story was censored on some level in the end.

My hot take is no one should be ~worrying~ about Sylki at this stage of the game. Free yourselves, people.

If the story starts abruptly going in a Sylki direction, even with only 3 episodes left, I will certainly be the first to say so lol. But I simply sincerely, truly doubt that'll happen.

(Hot take in the footer: this is not the post to get into this at length, but in case this comes up… In this house we do not use the word "queerbaiting." It is a useless, nearly-meaningless, insufferable term that devalues the legitimacy of subtext and queercoding more often than not; it's rooted in the idea that media must hit arbitrary and inconsistent checklists often set with cishet approval in mind; and it perpetuates a focus on the false and harmful myth that many creators are "cowards" instead of leaving room for nuance and the fact that industry censorship still exists.)

[nerdpiggy]

idk i just think its very important that loop doesn't have a mouth. they have no teeth. no bite. they can't stick their tongue out, can't smile a toothy grin. they communicate facial expressions with their body language and their eyes, which were the two things that slipped first when trying to hide their mental state back when they DID have a mouth.

i find all of these aspects integral to loop as a character. and i think a lot of interesting character development can come from loop fighting against, working around, working with, or accepting their lack of a mouth. i understand the temptation to give them a mouth but really think about it. reeeeaaaally think about it

[neversetyoufree]

I started vnc way back when there was only one volume, stopped, and only restarted it last week 🙈 since then, I have reread it twice and will again, once I'm done with exams, as it has turned me insane. And since no one I know reads it, I just wanted to ask what your thoughts are on my theory that the reason not 'didn't reach out to vanitas' thus leading to his death is because of Ruthven compulsion on him? Cuzco after the 'ill never set you free'thing, I just can't see noel not reaching out tonight purpose. Your blog is a joy to read through, and I love your meta!

Hello!! Thank you so much! It's always great to see another person having fun with my favorite manga :D.

My thoughts on Vanitas's eventual death are. complicated. If we keep going down the path we're on now, I honestly suspect Vanitas's death is going to be more assisted suicide than murder. IE, Vanitas asks for Noé to kill him because it's preferable to the alternative.

Per Ruthven's compulsion, I definitely think it's going to come up, and I do like the idea of Ruthven trying to force Noé to hurt or kill Vanitas, but I don't think it's going to be how Vanitas dies. In a way, I think that would feel somewhat cheap.

Noé killing Vanitas because of his oath to Ruthven would make sense on a plot level. It's a nice, logical explanation for why Noé would kill someone he so clearly adores. I can see why it's a lot of people's theory! However, that explanation wouldn't really deliver on an emotional level. It's just not interesting for Noé's characterization.

For one thing, making Noé kill Vanitas when he's not in control of himself would strip away all of Noé's agency. With VnC's opening chapter, Mochijun sets us up so that the entire time we're reading, we're asking ourselves "but why will Noé kill him?" It's a big source of intrigue and suspense. And to me, finally resolving that suspense with "It's not his fault! He was artificially forced to!" feels like a major letdown. It adds nothing to Noé's character. It's answering that all-important "why" with "There is no reason why. He didn't actually want to." I think that would be a cop-out.

Through that denial of agency, I think this ending would also risk losing out on a lot of potential character development for Noé. The core of Noé and Louis's tragedy is that Noé desperately wanted to save Louis, but the only kind of salvation Louis wanted from him was death, and Noé couldn't give him that.

Now Noé has another person close to him that is also seeking salvation through death. If Noé kills Vanitas, but he's not in control of himself when he does, that misses out on a big opportunity. Has Noé come to understand salvation through death? Has his worldview changed since Louis made that request of him? Does he have it in him to kill a loved one if that's what they ask? If Vanitas's death is forced by Ruthven, then we're much less likely to get answers to those questions.

Personally, my favorite hope/theory for how Ruthven's order will play out is the idea that Ruthven will order Noé to hurt/stop/kill Vanitas, but Vanitas will manage to snap Noé out of it in the same way Noé broke Vanitas's self-hypnosis in the amusement park. There's nothing I love more than a gay little parallel.

I can see a scenario where Ruthven's oath is what pushes Vanitas close to death? Maybe Noé will be ordered to try to kill Vanitas, and that will set off whatever horrible chain of events pushes Vanitas to ask for death that final time. But even if Ruthven does order Noé to hurt Vanitas (which is a big if), I don't think it will be what causes the killing blow.

[drbtinglecannon]

It's actually kinda sexy of Caleb & Evelyn to haunt the narrative so thoroughly while never having any speaking lines or even appearing on screen outside of 400yr old repressed memories, delusions, and/or hyped up folklore

We don't even know for sure if Evelyn was a Clawthorne, or what she looked like, or how the fight between Caleb and Philip went down, or Caleb's reasons for leaving without Philip, or what their half witch half human baby looked like, or how long after Caleb left before Philip found him again, or what Evelyn did when she discovered her dead lover's grave was robbed, or how quickly after killing Caleb did Philip decide "I can make a new Caleb that's Better™"

We have scraps to give us pretty good ideas for most of these, but nope they really just haunt with no reward. Like yeah babes give us nothing!

[shuchelle]

I LOVE HIM. SO MUCH

[theoryofwhatnow]

please stop asking me what the ending to Like Minds means. i don’t know 😭 i just work here

[toytulini]

im such a soup poser tbh

[mettywiththenotes]

Oh I just had an idea

So I think Izuku will give Tomura OFA, I'm guessing this would defeat Tomura-AFO Quirk from the inside

Plus I guess it depends on how Izuku gives Tomura OFA, whether it is through dna or letting him take it, but...

If Izuku gives Tomura OFA via dna, what if Vestige Izuku gets into the Void to save Tenko while Real Izuku is still fighting with what he has left of OFA (because remember it takes a while for it to fully transfer over)?

Or if Izuku lets Tomura take OFA, if it's like an instantaneous transfer, then we'd have quirkless Izuku with Fully Quirked Tomura and that may bring up some feelings about how he used to be

In either scenario, I think it would be like a side-by-side sort of thing where Real Izuku confronts Tomura somehow while Vestige Izuku comforts Tenko

All while the other vestiges find and destroy Vestige AFO

That'd be cool I think

[laniemae]

Hmm