Anyone who's an adult and a plushie collector. Do you still play with your stuffed animals/have you gone back to playing with them? And I mean full on playing, not just taking them someplace to take photos.
I have an urge to start playing with my plushies again, but idk if I could actually do it. Atm my version of "playing" with them is taking pics, or staring at them while imagining the stories I want to tell with them. Or I'll pick one or two of them up and wiggle their limbs and stuff around a bit then put them down back. It still feels...silly? I guess? To play with them? But I still want to. But the part of me that cringes holds me back. So it'd be nice to know what some other collectors do!
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as I am replaying origins -- a game which, to be clear, I love very VERY much -- I can't help but feel that people do don the rose coloured glasses on it a bit specifically when it comes to the range of dialogue options you're actually given to work with at any given time (something I've seen my fair share of silent vs. voiced protagonist discourse about over the years *smokes tired cigarette in survivor of a decade of DA tumblr*). like... there are a couple of situations where you're given a decent range of responses, but the vast majority of the time you have about three dialogue options, and often they're presented sort of like 'polite/bland/unprovoked near-cartoonish levels of assholery'. arranged like, y'know:
I am [BLANK]. It's an honor to make your acquaintance.
You can call me [BLANK].
How dare you speak to me. Fuck you and your family back five generations. I'm going to rob your mother's grave before your eyes.
(sometimes if you're real lucky you get the secret extra 'Something else/I'm bald/but I'm a dwarf!' option)
I'm not at all saying it's worse in that aspect than the other games (Dalish Inquisitor 'Who's Mythal' just entered the chat), but I do think it's worth considering that this might be a bit of a franchise original sin that has been present since the beginning, as indeed it is in most rpgs because making rpgs is real hard, and you notice it more with the dialogue wheel format than when the responses and questions you can ask are all laid out in a list together
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Just had a middle-of-the-night “ohhhh” moment as I just figured out that Kim Dokja needs the Fourth Wall not because of the scenarios but because it was essentially his survival mechanism for life.
Now I have only read the novel once so I could totally be forgetting stuff & way off-base but this is what I remember. Inane rambling under the cut, major spoilers included.
We know he’s generally antisocial, placing himself outside of society like a reader, and he internally smoothed over Sangah’s rough points even before the scenarios, making her into a ‘character’ (a caricature of herself) that fit into an archetype.
Dissociating from reality & viewing himself as a reader is his coping mechanism & “WoS coming to life” provides a convenient excuse to keep ignoring that fact.
This kind of ties in with an idea I’ve been forming about the Fourth Wall, which is that KDJ is fundamentally incapable of believing that “The Characters” (read: everyone) can experience growth as a result of his actions. He exists outside of the story, he is in the audience beyond the fourth wall, so he cannot affect the characters.
Hence the paradoxical nature of the Fourth Wall. For as long as he is a Reader, the Fourth Wall is maintained. And as long as the Fourth Wall is maintained, he will continue to be a Reader.
(Warning this is where it gets incoherent and messy.)
Kim Dokja fundamentally NEEDS the Fourth Wall to be maintained. Not just because of the OD stuff, but because it’s the way he’s learnt to cope with existing. It’s also why dying is so easy for him—we know he cannot deal with the guilt of making people he cares about suffer, but if he’s just a Reader, that means he can’t really have any meaningful impact on their lives, so it’s fine for him to just… disappear.
Kim Dokja is not actively suicidal, he’s just invested himself so far into the worldview of himself being a Reader that to him, his temporary deaths no longer register as dying. More like… stepping out of the theatre for a bit.
It gets complicated when we hit OD. Because then we realise the KDJ we’ve been accompanying is essentially a self-insert OC. So we can ascribe the way he thinks to OD, including all the coping mechanisms and self-distancing. But where OD manages to escape the narrative along with SP, at the same time the KimCom Crew escape the narrative, KDJ actually kind of… doubles down?
Like, OD does what any Reader does and learns from the book. When KDJ says “I, someone of no redeeming quality, could be loved by the others.” It’s not just him learning this lesson. It’s actually kind of the opposite. OD is Reading this lesson so he learns that he’s allowed to accept the mercy of SP & the 999 crew. So they escape the narrative.
KimCom also manages to escape the narrative but KDJ… can’t. He comes to the conclusion that he was actually backstage all along. But that means he’s still not ON stage. A Character can’t feel for the Script Writer or Director or Stage Manager. So he doubles down on his separation from them, stepping into that role. And then then KimCom comes banging on his door backstage because they’re not just characters, they’re the Actors now, and KDJ disappears because he can’t deal with that, because he fundamentally cannot exist on the same plane as them.
I think that’s why I’m hopeful at a post-epilogue ending. KDJ The Reader exists at essentially a higher tier than the people around him, and so he believes he cannot be loved in a way that has a lasting impact on them. But he DID spend years being affected by WoS, by Yoo Joonghyuk. If he becomes the Character, and them the Readers… maybe, just maybe, he can actually accept that love.
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Amazing, take some of the side character demons from Evil Bound.
Vincie is a menace to Chuck and Chuck alone so in Hell, Chuck hexes his hand behind his back so that he isn't grabbed as much (and it's harder to pet him). Chuck is like the most irresponsible older sibling ever to demons though so Kelvin recruits him (as an older sibling vibe) to go help him get his ACTUAL older sibling from Earth. Chuck agrees. And then drags Vincie from Hell with them because no one else wants to babysit him and he refuses to unbind the hex just to re-hex when he returns to Hell.
In Hell, Kelvin actually doesn't appear much different than his human form! Like Kronos, the lines under his eyes are red in Hell but black on earth. Chuck however? In Hell he has wolf-ish ears and has a fur lining his neck (note the neck scars in human form). In addition to that he has four eyes in Hell (note the scars under his eyes in human form). Vincie just has horns in Hell. And! In Hell the hex doesn't have a silly looking "tied up" look, it's invisible unless Vincie strains it with movement and then its red text. But it shifts on earth to be visible.
Vincie's biggest agony for the entirety on earth is "dude it's colder here than in Hell I want a jacket to slip my arms into BUT I CANT BECAUSE IM BOUND".
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With mismag2 on the horizon I had a question for the culture:
Transfem Evan Kelmp is a wildly popular headcanon in the fandom and I was wondering where that hc originated for people? I imagine the answer is different depending on the person and I want to see why :)
I ask because I remember when the first season was initially airing the common gender hc for Evan was non-binary, but now it is overwhelmingly transfem.
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