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queen0fm0nsterz · 10 months

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Also guys, about the locations of the podcasts: they are real places. 100%. They are real places somewhere in the Nowhere - most importantely, somewhen.

Prophetic dreams are very real in Little Nightmares and they are things that often happen: however, I do not believe this is yet the case for Noone. She describes feeling sensations and smells multiple times, something that can only happen if the plane of reality one is in is... well. Real. She also describes feeling Jester's presence as she does with Otto's, who is a real person in the real world alongside her. The fact that Noone isn't currently fully there yet doesn't necessarely mean the places aren't real.

Now, whether she's visiting the past versions of some already existing locations is up to debate (COUGH THE BATHHOUSE COUGH), and that locations and habitants of said locations can be parallels to some already existing ones, but the only certainty we have at this point is that these other places that are being described and witnessed by Noone are real places somewhere. After all, the Nowhere is an incredibly vast place of which we have explored incredibly little.

Would it be so surprising if the places Noone visits are separate from the, like, 3 ones we have visited?

(map is from LN II, the school, and is supposedly rappresenting a region of which we only see a single city.)

And another thing, actually: I have seen many compare the Lady to the Woman in Chains, but honestly, after reading through the transcript of the first episode of TSON made by @softichill... the two sound like the complete opposite of each other, appearence and behaviour wise.

The Woman in Chains is described as having a "stretched back face", therefore causing her to have wrinkles due to how her face is structured, which explains Noone talking about her as being "both old and young". There is no concealing, no mask, nothing to hide her face. She doesn't live in secrecy like the Lady does -- quite the contrary, infact.

And about features: in both her forms, the Lady's face looks the opposite of hers. Either completely relaxed, or... nearly like it's melting.

I have also seen some people try to claim that the "familiar outfit" as a reference to the Lady's kimono, but you must remember who the narrator is. The outfit is familiar to Noone. Not us. It is likely that the Woman is wearing either a nun's dress (Noone mentions seeing three laying on a bed in the Prisoner's bedroom) or something Noone might have seen from the institution she's kept in.

While the Lady does thrive in her occupation, she doesn't necessarely take joy in it like the Woman in Chains (Prison Ward, atp) does. For the Lady, it's much more a matter of survival. She is on the Maw because it's convenient, see as she's in a powerful position. The Woman in Chains is instead happily preparing torture devices to haunt the Prisoners with.

Some parallels are certainly there. Referring to them as being, even metaphorically, the same person... it would mean that the team wrote a very bad analogy. They are nothing alike in any other aspect BUT their occupation. Funnily enough, you could say the Thin Man and the Signal Tower operate in a near identical manner to both these places. He's also the living center/battery of his own mechanism.

Noone also mentions that the Workers seem to be made of shadows, similarly to the Shadow Children. However, it is also evident that these beings are different, as they work and can hold objects much like the nomes. Later, when she meets a living child, she notes that they have black goo in their hair that moves like shadows. If that's the same material the Workers are made of, then this would make them some sort of liquid entities.

Lastly, about the inhabitants themselves: no one else in this Prison is here because they want to be. The Prisoners are not like the Guests, who come on the Maw willingly. The Workers are mindless beings, unlike the Nomes who draw and the Shadow Kids who play just like children. The child and Noone want to leave... and that's understandable.

My friend @chorusofkhonshu smartly pointed this out, so I'm just gonna copy and paste what he said word for word.

"So I thought, if these creatures are made of liquid, it has to come from somewhere. So my mind wandered to the prisoners, their purpose. Perhaps like the Maw and Signal Tower need to absorb people. The Signal Towers thru TVs and the Maw thru the Lady. What if those prisoners are only alive to be bled dry so long as they live. Noone smells the prisoner rotting. All those prisoners have to share some purpose, they might be tortured. Some device that the lady there has. She uses straps and cranks. Masks with spikes in the mouth. It runs on tortured souls."

And just as Noone mentions later on:

Swelling.

If anything... rather than paralleling Six's journey, Noone seems to be living it backwards. Completely backwards.

... Mh.

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toavoidtherush · 17 days

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the house as a haunting unto itself

kitty horrorshow, anatomy / phoebe bridgers, garden song / james wan, the conjuring / tracy k smith, ash / vc andrews, flowers in the attic / hollis brown thornton, 1986 / sylvia moreno garcia, mexican gothic / elias tigiser / dale bailey, the h word; bringing the horror home / danez smith / brian de palma, carrie / tori hamatani / leah horlick, ghost house / edward hopper, house by the railroad / mabel podcast / yellowjackets, the dollhouse / mark z danielewski, house of leaves / gillian flynn, sharp objects / thomas flint, haunted house / mike flannigan, the haunting of hill house / the duffer brothers, stranger things / joan tierney, why are you haunted? a survey / benjamin konig / richard siken, real estate.

#web weaving #haunted house #ghost #architecture #horror #gothic

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objectspod · 8 months

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Our fearless producer Connor has been haunted by an ultraterrestrial cowboy for several years and no one knows what to do about it

#haunted objects podcast #paranormal #newkirk museum of the paranormal #planet weird #ultraterrestrial

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jacksgreysays · 2 months

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Extremely late, completely unnecessary opinion of the Watcher situation, (2024-04-24)

So this is a relatively belated post — several days after the initial “Goodbye Youtube” and one day after the “An Update” videos — and surely by this point there are more interesting/insightful op-eds (both in written form and video form, especially penguinz0’s fairly objective POV as, essentially, a YouTube expert) but there is something about the Watcher situation that made my brain itch. Thus, I wanted to write about it in order to make sense of it all as well as get into a philosophy that seems to be haunting me in recent years and which I think applies greatly here.

This may seem completely out of left field considering 1) definitely not fanfiction and 2) about Watcher Entertainment, a YouTube channel which—as far as this tumblr is concerned—I’ve not engaged with whatsoever, but I don’t know where else I would put this, and weirdly enough I think the general tumblr response to this whole predicament is maybe the… if not objective… then at least, most thoughtful?—or, perhaps, least immediately reactive?—amongst the various social media platforms, that I think some people might appreciate this anyway.

In terms of my relevant background: I majored in Management Science (which is just a fancy way of saying Economics + Business + Accounting because they are, weirdly enough, separate things) and minored in Film Studies in school, I am currently working in the stage tech industry (which, I know, is obviously different from film/video industry), and I like to think I am a fan/consumer of a wide variety of independent creators, some of whom I am lucky enough to be able to afford being a patron/subscriber. I won’t go into all of them—because it is a lot—but there are four in particular whose business models I want to analyze in comparison to Watcher’s admitted blunder:

A) RocketJump (known for Video Game High School and Anime Crimes Division; the core group which turned into the podcast Story Break, then became Dungeons and Daddies) B) Dropout (formerly College Humor, we’ll get into their discography later) C) Drawfee (previously an offshoot of College Humor, now fully independent) D) Corridor Digital (used to be mostly behind the scenes of how VFX studios work, have since become a mostly original content creator)

I will say, right off the bat, I am a patron of Drawfee as well as Dungeons and Daddies, and I am a subscriber to Dropout. I am not subscribed to Corridor Digital’s streamer, which I will get into why later. I understand that being able to sustain those two patronages and one subscription is a luxury that not everyone can afford and so my point of view is already skewed by being such a person who could theoretically afford another streaming service if I so chose. I also acknowledge that many fans of Watcher are not in similarly financially secure places as I am and that regardless of the business model, any monetization that comes from fans would have been a rough ask. However, I wanted to go into this essay in a way that accepts Watcher’s statement—that they needed more funding—in relatively good faith rather than assuming the worst (although that is another point I’ll get into later, largely related to the philosophy I brought up earlier.)

All four of the above listed content creators started or, at least, hit their stride on YouTube:

RocketJump and College Humor were, if not household names, then the digital equivalent of it in the “early days of YouTube.” They were part of the wave of content creators that made YouTube seem less like a bunch of eccentrics with cameras making videos on the side and more like a viable way to support yourself/your team with the art you create.

RocketJump’s Video Game High School went from short (less than 10 minutes) minimal location episodes in season one, to 30 minute plus episodes with full on fight scenes and car explosions by season three thanks to a Monster Energy brand deal. They also had two seasons of Anime Crimes Division, a literal TV quality show, thanks to a Crunchy Roll sponsorship. Unfortunately, RocketJump shut down not long after (their videos are still up on YouTube but they obviously don’t add anything new) but the core creative team behind that have been involved in several projects outside of YouTube (Dimension 404 on Hulu being one of the biggest ones so far) including the podcast Story Break (part of the Maximum Fun network) and now the independent podcast Dungeons and Daddies, the episodes of the main campaigns which are free with ads or, for patrons, ad-less along with additional mini-campaigns and other benefits.

I will say, during RocketJump’s decline, they did try their best to keep going. The partnerships with Monster Energy and Crunchy Roll were the big swings to get the funding to make those TV quality shows they wanted. I believe they lucked out with those brands in particular, or, at least, those brands didn’t seem to inhibit the creative process or ask too much of them that it felt like “selling out” but I also don’t have insight into why they didn’t pursue this model of, essentially, very weird but interesting season long commercials. Maybe they just couldn't find the right brands or maybe they did feel like it was too stifling. Regardless, before they shut down completely, they did also downsize—moving out of the actual city of Los Angeles over to Buena Park. Which is in Los Angeles county, and basically counts as LA still, but is way cheaper than literal Hollywood real estate. (I should have added to my relevant background that I’m born and raised LA county, and have relatives and friends in the film/movie industry, so trust me when I say literal Hollywood/city of Los Angeles is so overrated and unnecessarily expensive. There is a reason why LA traffic is the worst and it’s because everyone is commuting INTO the city. Respectfully and with affection, no one should live there. No one’s start up should be located there.) Obviously the downsizing didn’t necessarily work for RocketJump, but they also didn’t have multiple successful revenue streams the way that Watcher currently does.

In contrast, College Humor was acquired by InterActiveCorp and was turned into CH Media which was three pronged: College Humor, Drawfee, and Dorkly. In 2018 they made Dropout, which had exclusive content separate from their YouTube videos which involved all three prongs. Then some financial shenanigans happened early 2020—IAC withdrew their funding—and there were a bunch of layoffs right before the pandemic which extremely sucked. It has been stated by multiple people involved that it was basically a miracle that Dropout survived through all of that, but there were definitely some sacrifices along the way to make that happen. Currently, Dropout seems to be thriving with mostly exclusive content with the occasional “first episode of a season” posted to YouTube, OR if Dimension 20 is doing a “sequel season” in an already established campaign they will put the entirety of the previous season on YouTube.

IAC withdrawing their funding did put CH Media in a bind. They had to layoff a lot of people right before pandemic and, understandably, a lot of trauma was had. There were also weird issues with who controlled certain IPs/brands/digital assets (I mostly come at this from a Drawfee POV, it took several years for them to own the Drawga series and be allowed to host all of the episodes on their YouTube, and there was also something about the sound file for their opening animation?) but mainly the difference is what kind of content they generate. Originally Dropout had multiple scripted shows with high budgets and pretty cool effects/animations/stunts (Troopers, Kingpin Katie, Gods of Food, Ultramechatron Team Go!, Cartoon Hell, and WTF 101) whereas now almost all of their shows are variations of improv comedians being put into different scenarios or given different prompts. I’m not just talking about Game Changer and Make Some Noise, because Dimension 20 and Um, Actually also technically fall under that description as well. Which is not to say that these shows are worse than the scripted shows—I subscribe to Dropout, so clearly I’m a fan of their current shows—and the budgets for them have since increased to resemble, if not match, those early shows, but it is a noticeable shift in their content creation strategy as a response to the lack of IAC funding. And I will say: Dropout releases at least three videos a week if not more and at least two of those are long form at 30 minutes plus (Dimension 20 being the longest, of course.)

So, these first two business models are not really the most applicable to Watcher Entertainment considering their origin was to get away from Buzzfeed—they’re probably not keen to be partnered with or purchased by a larger company—but there are some aspects to both that I believe are valuable in at least showing the strategy in how these former YouTube creators could successfully extract themselves from YouTube or how they still utilize YouTube even if it is not their main hosting platform or revenue stream.

Then there is Drawfee and Corridor Digital, both of whom are currently—if not primarily—on YouTube, whose situations are more comparable to what I believe are Watcher’s goals.

Drawfee had to rebuild themselves like a phoenix from the ashes of the CH Media layoff during the beginning/worst of the pandemic. Side note: I’m happy that Nathan (one of the four main artists of the current Drawfee team) at least has forgiven(? or let bygones be bygones) Dropout enough to be on an episode of Game Changer (although I will say that this happened after Drawga was “returned” to Drawfee, and after Dropout officially split from College Humor as a brand.) All that being said, Drawfee was a team of four artists plus their editor who wanted to stick together but basically had all of their support system taken away from them. They took a bit of a break to assess their goals and options, announced a patreon with several tiers with great perks, and stuck to their upload schedule. In addition to two videos a week, they also stream on Twitch weekly, have a patron only stream once a month, and a draw class (for one of the higher tiers) once month. After asking their patrons on the relevant tiers if they were okay with it, they began releasing the patron only stream and the draw class to the general public for free after a month. The patreon perks also include things like merch discount codes, high quality PNGs of the final rendered art, access to the draw class with live interaction/critique, and a commission from the artist of your choice. The only “ads” they run are for their own patreon and merch store and, even then, they’re usually at the end of the videos with a credit scroll of the patron names during their exit banter.

Admittedly, they only have MAYBE eight employees—that’s including their video editor(s?) and their discord mod(s?)—with the main four artists doubling/tripling up duties as additional video editors, CFO, and marketing/merch leads. It’s a very streamlined crew and their production costs are not very high since it’s mostly screen recording of their drawings with their audio recording overlayed onto that footage. Although the video editors do sometimes have clever cuts to relevant images depending on their vamping. Sometimes they will have a guest artist but, again, since it’s screen and audio recordings, there’s no travel/housing costs. So, very minimal expenses due to low production costs and small crew but, again, their only revenue source is the patreon/merch, they don’t do outside ads and they very rarely do live shows.

Corridor Digital is, I think, the most applicable to what Watcher would ideally do, which I suppose is somewhat ironic for this essay in particular considering they’re the only one of the four that I don’t financially support. They have two YouTube channels: their main one being where they show the “final product” videos, but I believe their Corridor Crew channel which started primarily as behind the scenes type of videos is where most of their views come from. Especially their React series (VFX artists, Stuntmen, and Animators React etc.) On Corridor Crew they usually upload two videos a week — one which is a React and the other which goes into fun projects/challenges (involving VFX or not) or using VFX to explain scientific concepts — as well as the first episodes of their exclusive content on their streamer. Also behind that paywall are longer and ad-less versions of the videos on YouTube. They also have merch. All of them have merch, I don’t know why I’m stating that. They don’t have a patreon as far as I know, but I also don’t know if their subscription to their website comes with similar perks like discounted merch or something similar.

Anyway, their studio seems to be about 15 to 20 people — not all of them are VFX artists, of course. I believe they have higher equipment costs than Watcher since, understandably, Corridor has to be on the cutting edge of video editing technology. They do occasionally travel for shoots, but it doesn’t require big teams, and that’s only when the local locations available to them don’t match the requirements for the “final product” videos. Otherwise most of their videos are set in the studio or in the alleyway outside their studio in Los Angeles (the city itself, not just the greater county, though they are in a rougher and thus probably cheaper part of Los Angeles). I personally don’t subscribe to their website primarily because their exclusive shows don’t appeal to me—either they’re too technical or a little too dry; to be fair, most of them are VFX artists first before they are performers—and I don’t particularly feel the need to see the extended cuts of the videos uploaded on YouTube. Also I sometimes get a little bummed out by their lack of diversity.

All of this to say, from these four different business models, a bespoke Frankenstein business model for Watcher could be cobbled together. But also, even with that bespoke Frankenstein, there are some changes that Watcher would have to make: primarily their upload schedule. As of right now, I think they do MAYBE one video a week if not, perhaps, one video every TWO weeks. If they want a monthly subscription model, their rate of content generation would ideally be higher to double/quadruple their current upload rate. Obviously they want to create videos with higher production value, but at that rate of generation, something’s got to give: supplement their TV quality shows with either a behind the scenes type series or an increase of “we get four episodes out of Shane and Ryan get increasingly drunk in someone’s backyard” or something similar. Leaning into shows like Worth A Shot (the first season in which Ricky Wang makes cocktails based on a random ingredient, the second season threw in some competitive aspects which I didn’t really find necessary) or the Beatdown which has relatively low production costs (no travel, one location, maybe two cameras at most therefore smaller crew requirements) but a higher polished look. Otherwise, for a separate streaming subscription service, 2-4 videos a month is not going to cut it.

As of right now they probably can’t back out of the separate streaming subscription service because those set ups usually require some level of contract/paying for servers for the website and whatever is hosting their videos for a set amount of time. However, what really strikes me is that I literally didn’t know they had a patreon until I scrolled through the comments of the first Goodbye Youtube video. Maybe it’s been linked "tactfully" in the descriptions of videos, but considering they claim to be lacking in funds, the fact that they weren’t plugging their patreon at the end of every video is not just strange, but also irresponsible considering they do have 25 employees that they don’t want to layoff.

Additionally, I understand artists needing to be in a space that promotes creativity, but there are cheaper places that must be comparable that aren’t in literal Hollywood. It’s an unnecessary expense. On top of that, other people have already brought up that it was fairly crass to introduce this paywall, attributing it to the increased production costs, when the next planned “new series” is a reboot of an old Buzzfeed series in which people travel and eat expensive food. I’m not even talking about the personal expenses of Steven, Shane, and Ryan; what kind of car they drive or the cost of their wedding venue doesn’t matter on a business model basis.

But getting back to the patreon: again, I literally didn’t know they had one. I’m looking over their tiers— they have $5, $10, $25, and $100 — and for the most part they seem okay, although I think they have more to offer that wouldn’t necessarily cost them more. Ie, something that has baffled me for a while: the fact they don’t sell the mp3s of the Puppet History songs; they already exist and it doesn’t cost them anything additional because they don’t need to put it on physical media. Or maybe they do and they’re not marketing it similarly to how they weren’t overtly marketing their patreon?

And, okay, maybe they didn’t want to seem desperate — in the early days of Dropout and independent Drawfee, they both were very blatant in getting people to subscribe/join their patreon. As they should be. Desperation maybe doesn’t look cool and sexy, but it is earnest in a way that conveys equal effort that fans who can afford it would want to see. The fact that we weren’t getting rotating ten second clips of Steven, Shane, and Ryan asking people to join the patreon at the end of every video — even if its the same clip every three videos — is wild. And yes, the $25 tier includes a shoutout every 3 months on Watcher Weekly+ (which I don't quite understand what that is,) but the fact that they weren’t doing a quick post movie credits scroll of all the patreon names is, again, wild. Once you have that initial list, it’s not too difficult to add any new names that join and put that title overlay on top of, again, those nonexistent ten second clips of the three.

As others have already stated, it seems like an extreme mismanagement of their existing successful revenue streams, if they are actually struggling to pay all of their employees. Which goes into the philosophy part of this essay: don’t assume malice when it might just be incompetence. It’s something that I have to remind myself of often because I do get paranoid about people’s intentions sometimes and I have to check myself. Am I being overly suspicious of what might be just an honest mistake? Am I assigning ill will to an action just because it inconvenienced me?

Yes, of course, a lot of this situation could be misconstrued as straight up greed. But, also, Watcher is a relatively young company, helmed by three people who certainly don’t have experience running their own company:

They like to travel. They like to bring a full crew around with them. They’re renting out a shiny office in the heart of Hollywood where everyone knows is where real show biz happens. They’re adding more employees to the team because surely more people means better. And they want better productions values because the prettier the videos the more people will like them right?

It’s naive. It’s a level of inexperience combined with giving responsibility to officers whose main priority is to entertain. And if that means entertaining themselves and their staff, then they might not know the difference. It’s the kind of mistake that first time managers make—trying to prioritize fun over getting the job done. Prioritizing making friends with their employees rather than making sure the work the employees put in is equal to (or greater than) what you spend on them whether that is in paycheck or bringing them to cool locations for fun shoots. It’s a mistake anyone can make, it's just unfortunate that they made this mistake in front of millions of people. It doesn’t necessarily mean it’s solely a greed induced cash grab.

But then comes the catch-22 of the philosophy—is it worse to assume incompetence than it is to assume malice? Or, in this case, greed. Especially for the heads of a company that holds the livelihoods of 25 employees in their hands. At what point does it not matter if it’s incompetence or greed if the end result is the same?

Is it better to think that Watcher knew about the various other business models of independent creators and just ignored the efforts put into achieving those successes or is it better to think that they didn’t know and just stumbled into one of the worst moves they could have done. Again, other people have mentioned that Great Mythical Morning—which Watcher has had multiple collaborations with—has managed to make the YouTube subscription/tier system work to the point that they can sustain themselves as well as spinoff channels. Is it incompetence or greed that led to Watcher thinking they could bypass that completely in less time and with less content?

I’ve been at this mess of an essay for several hours when I should have been asleep. Ultimately I want to say, regardless of incompetence or greed… yes, Steven is CEO and yes he is ultimately the one who makes the final call but it is disheartening to see the pointed vitriol at Steven specifically and the infantilizing of Shane and Ryan in comparison. Either they’re all silly uwu boys who are messing around not knowing how to run a company, or they’re all complicit in a crass cash grab in an extremely busted economy.

I think what’s most frustrating to me in all this is that there were so many other channels and creators who have literally walked this path before them and, again, whether through incompetence or greed or arrogance, for them to just ignore it… It’s not betrayal because I don’t know them and so there’s no relationship to betray, it’s just so inefficient and convoluted that I don’t understand. Or, no, even if it was greed, it’s an incompetent greed because at least pure greed would have been pushing that patreon every second they could. Their ratio of YouTube subscribers to patreon members is less than 1% and I bet that’s because a lot of their audience, like me, literally didn’t know they had a patreon. I probably would have become a patreon member of theirs had I known earlier, ESPECIALLY if it included access to those Puppet History songs. Drawfee has half as many YouTube subscribers and nearly double the patreon members as Watcher. I’m just baffled, is all, and maybe by this point sleep deprived.

Anyway. That’s my extremely late, completely unnecessary opinion of this situation.

Edit (several hours later after some sleep): I forgot to mention, because they did walk this back almost immediately, even before their "An Update" video, but I believe the original plan was to put EVERYTHING behind that paywall and pull their content from YouTube entirely. Which is, again, extremely baffling, because if ALL of their content is behind a paywall, how would they possibly gain new fans? Even if all of their current fans were able and willing to pay for their separate subscription streaming service, how would a brand new person even stumble on their content enough to want to subscribe if there wasn't a significant amount of "proof of value" free content on YouTube? Again, extremely baffling, and a level of incompetence that overshadows a "cunning" greed. But, like I said earlier, they did walk this decision back almost immediately. If I've misunderstood this and that was never their plan, please let me know, I don't want to be spreading misinformation in a situation that is already so convoluted.

#jacksgreyson #writing #nonfiction #essay #watcher #op-ed #youtube #drawfee #corridor digital #dropout #rocketjump #dungeons and daddies

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sincosma · 8 months

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Met Greg and Dana at their Haunted Objects live show tonight and I’m just blown away by how kind, well-spoken, and hilarious they both are. I even got a hug from Dana after sharing with them that their work with Hellier helped me return to my witchcraft practice. Truly good people and we are so lucky to have them in the paranormal space.

Also, huge shoutout to Keelin (@objectspod) who was so lovely and kind enough to chat with me and my friends about gross smells and terrible first jobs in the meet and greet line.

Basically, all these folks are great and if you haven’t watched Hellier, The Unbinding, and every episode of the Haunted Objects Podcast, I am judging you hard. Go watch them ASAP!!

#haunted objects podcast #hellier #the unbinding #Greg and Dana Newkirk #planet weird

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bluerosesonata · 4 months

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I played and finished Slay the Princess last night while I was puppy sitting. I had such a great time. She’s my scary wife now.

Spoilers + more detailed thoughts below the cut, but without spoilers:

[points at devs] haha horror podcast fans

I’ve always loved Nicole Goodnight from her first appearances on Nosleep. she did so excellent as the Princess.

Very impressive scope, even with the very definitive ending I got, I came away from the game feeling like there were still paths I hadn’t seen.

Just as a general tone setter, I love the opening card/disclaimer that ends with “This Is A Love Story.”

GREAT visual style and art. I’ll get into this in my breakdown below, but with my amateur eye I love how they took a non-traditional approach to way the images/characters are displayed in a renpy game

INCREDIBLE music.

Hard to avoid Disco Elysium comparisons with the aspects of the Self mechanic, which I’m sure is either a received as a high compliment or is a source of annoyance for the devs, lol

Highly recommend it for OELVN fans, horror fans, and lesbians.

First and foremost, I’m genuinely very impressed at the amount of variety to the paths.

On my first playthrough, I got on a loop where I kept the princess locked up, and then she came upstairs and killed me. The next loop, The Paranoid showed up, and when we went into the basement, it was all spooky and distorted. In this one, we had some great banter with The Princess before I ultimately decided to slay her, and trapped me in the basement by warping reality and removing the stairs, forcing me to kill myself to escape that loop. The Cold showed up in chapter 3, and I think that was when I tried to leave the woods.

In subsequent loops, even when choosing all the choices I made to the best of my memory, I couldn’t recreate that first loop at all. It really speaks to the scope of the game in an impressive way.

The first vessel I managed to provide was The Tower. (It was the outcome of being mauled on your first encounter with her, then perceiving her as a dominating, inevitable force.) After discovering my new objective, the endings I saw were The Prisoner (It’s the ending where you just wait for the cell to rot away around you), The Razor (GOATED route, I will be calling her ‘Knife Wife,’), The Damsel, and ended with The Adversary (devil horns), before reaching Awakening.

These are the only routes I can talk about, but I’m certain there were at least 2 I missed/didn’t get to see. It’s an EXTREMELY impressive scope, and fully voiced, to boot, so my hat is off to the devs on that front.

(The next few paragraphs are about the voice acting, if you want my story thoughts, I made a small heading for that bc my VA thoughts got a bit out of hand lol)

Voice Acting

While I’m on the subject of the game being fully voiced: Nicole’s voice acting really shines here, and it’s absolutely essential to making this game what it was. I think a version of this game without it would be very Good, but not nearly as Haunting. The sheer variety of reads on certain lines based on how you first approach the princess is incredibly impressive, as well. (Again— scope!!!)

As far as the narrator VO goes, i can’t deny that Jonathan did a great job, and with his history of being the main narrator for The Magnus Archives, he was a good fit for the tone and audience of the game. I would even posit that, even if there were other people who were considered in the early phases of development, the cross-promotional potential of drawing in even a small section of an audience already primed for cosmic, reality-altering horror via TMA was a very smart business decision, and I applaud them for it. That being said, I think one unintended side effect of his casting may be that people familiar with his TMA character (a…semi-reliable narrator) might immediately come in primed with doubts about the Narrator. They seem to have anticipated this, though, and included skeptical and suspicious dialogue choices with him right off the bat in the first chapter, which is fun.

(A brief aside: If it seems like I am being very measured with my thoughts on the Narrator, it is not because I have anything negative to say about his performance. I am being measured simply because the narrative devices the game employs makes it impossible to not draw comparisons to Big Hitters like The Stanley Parable and Disco Elysium— both incredible games that I personally would be both delighted and terrified to be brought up when discussing a game I created or a role I was playing.

These games did not Create the idea of “a narrator you interact with and who is sometimes rude to you” or “multiple voices with distinct Traits butting in on your current predicament,” but both games are incredibly prolific in how implemented those devices and the vocal performances involved….so it is not a fair comparison.)

Story Thoughts

The subtitle for this section could also be “Faron ranks how hot they find all of the versions of The Princess.” jk.

I am not going to do summaries here I’m just going to assume most people reading this have played the game.

But let’s start again with the sentence at the beginning of the game: “This is a love story.”

Not long ago, there was a big discussion on tumblr about the statement that horror is “about love”, (it might have even been spurred on by TMA, lol) and that lead to a lot of justified (but not always kind) posts from my fellow horror fans being annoyed by that take. I’ll spare you a rehash of all of that. But it is exactly Because of that discourse (and my general gothic preferences) that I like the choice to open with this a whole lot. The phrase “This is a love story,” written in bold, at the end of a disclaimer saying ‘there are no wrong choices, just different paths,’ has an immense power to it. It is a mic drop way to open up a story, as a way to prime the audience to be open to the Princess as more than a monster, and creates the anticipation for a greater relationship to be uncovered between the protagonist and the princess.

It could also be that the phrase hit my brain in a weird way because of Fata Morgana. I don’t think The House in Fata Morgana had a similar line in the actual game— but my roommate who handed me Fata Morgana very specifically told me, “it is a horror game, and it is a tragedy, but at its core, It Is a Love Story.” And that’s always stuck with me. (I digress.)

A Brief Address to Loops and the Popularity of the Looping Narrative

I could sit here all day and talk to you guys about looping metanarrative structure and the different approaches to it, but you’ve probably all played a VN with that before. (If you haven’t, and this is your first time encountering something like this and it blew your mind…Go play Zero Escape: 999. Run, don’t walk.)

I believe very strongly that reviews should be about what a game Is, and how well it accomplished what it aims to be, not about what you wish the game was. But it is an even stronger opinion of mine that loop narratives, especially in visual novels, can sometimes get too bogged down in the details of “why am i in a time loop.”

I am extremely glad that this game (mostly) avoided this, bc it offers an opportunity to say something about the subgenre as a whole.

At the end of the day, looping narratives mainly exist as a metanarrative device in VNs to acknowledge and offer a reason why your character’s behavior (and/or your choices) change. It’s an easy way to create ludonarrative harmony, and to inject some extra drama with little extra effort.

But BECAUSE it’s easy, it can also feel Extremely Overused, and starts to become an expectation.

I won’t go on a soapbox about it, especially because I feel like this game handled it very well, and the looping, metanarrative aspect is suited to the themes and character subject matter of Beings Who Are Concepts, even if they Why doesn’t really satisfy. At the end of the day, this is a love story, and the why matters less than the feelings involved.

Specific Path Thoughts

All versions of the Princess are incredibly strong concepts, and the game is structured in a way that I very much would enjoy seeing how different people’s first loops influence their opinions on her. It’s got IMMENSE “streamability” in that regard.

Someone that encountered The Damsel version of the princess first would have an INCREDIBLY different experience than someone who encountered the Adversary first, which ties very neatly into the subject of the greater love story and can also generate some great post-play discussion.

I think, undoubtedly, the Aspects of the princess that made the biggest impressions on me were The Adversary (demon wife) and The Razor (Knife Wife). Part of this is due to the sheer length of their paths, as both of them take 3+ loops (correct me if I’m wrong) to reach the conclusion of their sections, whereas The Damsel, The Tower, and The Prisoner all only took 2. (See the next section for more on that). Thinking about it, every path was similar in the amount of sheer resources created for them (illustrations, animation), but these two create the illusion of having more than the others simply due to being the longest action sequences and loops in the game.

The Razor has an OUTSTANDING design, and the sequence to slay her would have been an incredible finale in its own right, as we get introduced to EVERY Aspect of ourselves as we die over and over again, even shoving the narrator out of the way so we can just jump to the cabin and fight her again, and the PC reasoning that “if there’s enough of Me, I might be able to overcome her”. For this reason, and because of the big knife skeleton body, I think that the Razor path is more Fun than the Adversary’s.

Flavor-wise, however, I feel like The Adversary is a much stronger character and narrative thread. A princess who doesn’t want to escape— she just wants a good fight. She wants you at your best, and she won’t have any less. That’s exactly the sort of character dynamic that really gets me going. I love single-minded women, and I love a main character who meets them on their level of crazy.

Both of these paths involve the Aspects of Self “The Hunted” and “The Stubborn,” and they are the aspects of the PC that by FAR have the most color to them (besides the lover, who is more of a buffoon.) I think they were my favorites.

That being said, I adored how exhausted the Narrator got during the Damsel path, and I thought there was a very quiet, profound power in the Prisoner version of the Princess. She had an austere, quiet pride to her, tinged with an undeniable sorrow.

I really do appreciate the variety of ways they provide for one to approach your dialogues with the Shifting Mound after every loop. They really create a lot of space for the player to decide how they feel about her. Even if it sort of bothered me that every time there was a choice to tell her you would slay her once it was all over, I appreciate the option being there. (And, again- the sheer amount of dialogue!! Sheesh!)

Lastly, the finale. It was incredible, going through all of the forms, reliving all of the choices you made. But this is the part that the amount of options started to detract from my experience.

Again- I love that they left a lot of space for people to decide how they feel. I like the amount of responses provided, and I get the impression they don’t change the final choice in any way, just the dialogue she says to get to it.

But it bothered me that there was an option to just…opt out of seeing every vessel, either by submitting to her or by killing her. I can’t see a world where anyone playing a finale like this would WANT to cut the big final movement short. It seems silly.

The payoff was worth it, though. It was a beautiful end and one that definitely will stick with me.

(And Obviously I decided to take her hand and remain endless with her! How could I not!)

Mechanical Musings

Note: I am a dabbler in Ren’Py, but I have been a dabbler for over a decade, and I went to college for game design. (You’re allowed to laugh) I’m not GOOD at programming, and I forget the class names for basically everything unless I’m looking at it.

All of this is all to say I am PURELY speculating on how certain parts of the game were accomplished.

UI/Display/Visuals

The choice to omit a typical text box was an objectively correct one for this game, in no small part to how they decided to do the visuals on this game. It kept the game looking clean and drew the eye to the stunning visuals. The right aligned prompt box similarly aided in that respect, and I think that being forced to scroll down to resist during certain tense sequences was a great touch. Makes me wonder if there’s a timed element on those responses.

The choice to eschew using typical talk sprites (outside of The Long Quiet scenes, the sequence with The Damsel, i thiiiiink the confrontation in the basement maze, and the finale) in favor of using scenes/displayed images really aided in the storybook vibes, and the animated loops they had on those images gave the pencil work an amazing kinetic energy for the scenes where the princess is just standing or sitting still. (For the uninitiated- It’s incredibly simple to program animation loops using static images in RPY, but I’m not clear if that the most memory-efficient way to do so; I’m going to assume they did this though)

The menu Ui is what gives it away as Renpy to me, but you know, if it ain’t broke, don’t fix it, lol.

I’m sort of surprised there wasn’t anything like a scene viewer or gallery that unlocked at the end, but I guess that might sort of be immersion breaking.

Gameplay

Just from my hobbyist eye, I can tell there’s a looooott of dialogue flags in this one, where they track previous things you’ve said in the scene. There is absolutely a variable for “Princess hostility,” just based on the fact there’s several like reads of her answering the questions you can ask in chapter one, but since I only did a single run where I didn’t pick up the knife in chapter 1, I can’t be sure if it’s points based or binary “has knife = true.”

My guessssss about how the Aspects are inherited is that it might be a point based system combined with a flag indicating how you died; this would explain how I inherited “the paranoid” in ch2 my first run, but never after that.

I can say with almost complete certainty from the way it completely locked me out of deciding to leave the princess locked up after my choice to leave the woods that there is a true/false variable tracker for each path that stores if you’ve reached the Long Quiet or not, bc no matter what I did I could NOT do that again. Either that or there’s a flag where the narrator will lock you downstairs after seeing that screen once.

There’s also probably some variables tied to your appearance changing in the mirror, but i would need to double check achievements to be sure that text isn’t just set to appear after X vessels being provided.

There’s also a distinct possibility there are different “pools” for the princess’ aspects to be pulled from after each “level” of ascension; this would set it up so that it’s impossible for you to end with an event that is only 1 loop long, and it would be easier to assure story pacing that way.

(Ex: “If Vessels < 2, use Event_Pool_A, Else use Event_Pool_B”, where pool A contains vessels that use less than 2 loops to complete)

All in all, if I ever got the chance to crack the hood open on this, I would. I highly recommend it.

#bluerose txt #slay the princess #game thoughts #bluerose reviews

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