#it was mostly for reference on some scenes and backgrounds but each time i just ended up watching it all the way through LOL

[png-of-a-bat]

ahaha you didnt think that was all huh? heres a massive doodle dump of all the little side doodles i scribbled throughout the week while i worked. i love this fandom so much and this sillay little movie. <3

[writeouswriter]

pls no anti ai art demagogy on my dash, thx

(X) in reference to this reblog I assume.

This is the wildest ask I’ve ever gotten.

“Please no love for the humanity of creation on my dash, please. Please no acknowledgement that art and the human experience behind those making it is inherently and fundamentally intertwined. Please no shoving the fact in my face that art is meant to connect rather than consume.

And please no pointing out the basic truth that most AI engines are built off the stolen work of others.”

Demagogy, noun: political activity or practices that seek support by appealing to the desires and prejudices of ordinary people rather than by using rational argument.

You come into MY house, you tell me what not to reblog on MY blog, and you what? Call me “irrational” and insult my understanding of the topic in the process?

Political activity, political activity... fuck off. Actors, writers, artists, those most affected by this ARE the ordinary people, and their concerns and fears surrounding this are perfectly rational.

And you know, nothing hits it home more for me than when I thought about my favourite show at the moment, the one that makes me lose my mind a thousand times over, I thought about everything in it that makes me tick, thought about both strong points and weak points, because it is flawed, god, is it flawed because people inherently are, and that’s the beauty, but mostly, I thought about the sheer amount of care/thought and depth put into it in a way I've never really seen before and in a medium/genre/whatever you'd absolutely never expect to find that thought put into, especially if taken completely at a surface level. Thought about the levels of metaphor and symbolism layered in beneath the silliness, thought about the callbacks and clever timing, thought about the behind the scenes arguments about what direction worked best for the narrative and the audience, arguments that took place because of how much they cared not just about telling a good story, but about telling one that really means something to them.

Thought about the love, the time, the excitement and the flair and personality and background and intent of each and every person behind the team bleeding its way into the scripts, into the acting, into the heart of what makes it truly what it is, and how that love bleeds into the audience as well, how that love and human connection is what prompts people to write full page essays and analyses on it, draw fanart for it, create the most beautiful fics for it, that love is what prompts them to laugh and cry and vibrate at the speed of sound thinking about it, and what prompts thousands upon thousands to come together in their appreciation for and relation to it, rallying around it like a group of cavemen around a campfire when they had never before seen the flame.

And then.... then I thought about the idea of that same show being written by an AI and genuinely felt physically ill. Because no real care will have been put into that beyond "If it looks like a TV show, sounds like a TV show, it must be a TV show." And on the surface, maybe it’d look fine, I’m sure some people wouldn’t notice. But it’d not only be made without thought, but consumed without thought. And, sure, maybe that'll fill you up in the short term, but it's gonna leave you feeling hollow and sick eventually. Because stories are not a thing to be mass produced with a random assortment of the cheapest quality materials on a conveyor belt that shovels them directly into people's throats at the most efficient speed possible, stories are not a thing meant to just be consumed! They are a thing made with intent in every aspect, even when accidental because our lives shape it subconsciously, they are a thing made with love, a thing to be savoured! And yes, for that to happen, they will take a lot of time and hard work and dedication, all of which deserve fair compensation and respect, all of which cannot just be replaced by a sham amalgamation of these things, and they will be all the better for it.

And on some level, corporations know this, and they want you to blame their shortcomings on the writers, on the artists, they want you to look at things like the strikes and those rallying against AI and get mad that they’re keeping art from the common people, or forcing them to come to this, or they want you to think they’re simply trying to make art more accessible, all the while building their conveyor belts in the background with the blood of those they’re kicking down, taking away jobs and shoving the humanity out of the picture.

Art is made to communicate, and sometimes it’s frustrating when we can’t get that communication across, when the image we want to convey is out of our skill level, our capability, when our words get tangled up, jumbled together and we need a helping hand to find the right ones again, and on this level, maybe AI could be a useful supplemental tool, or a fun little thing to mess around with, if ethically sourced, if used for good, if taking into account and graciously acknowledging exactly how it’s being used as a tool, rather than trying to pass it off as something it’s not.

But is it political, is it irrational, to merely state that the human condition cannot be replaced?

——

The unfollow button is free, I don’t work for you.

[iztea]

How do you get the ideas for your backgrounds?

mmm ideas.... sometimes i draw the background directly from a photo reference (the happy case) so there's not a lot for me to change and i can have a rather peaceful painting process

othertimes, the BG is tied to the subject/concept/scene I'm thinking of, so it only makes sense that i have that as the background

for example, for this fem skk art, i knew i wanted to have chuu kneeling in a crater after destroying a city so drawing that background was just a logical follow-up because i already had the entire idea in mind

Here, I wanted to have Akiangel sit on a building, watching over the city. The ominous sign with "the day of salvation" and crow came later after I found this picture on Pinterest, so they helped further develop the concept, but the main idea was there and so on

The third background option happens when my painting doesn't depict a certain irl scene or landscape, nor do i have any particular references i can use. In that situation, I first and foremost think about the general composition, the shapes, how they flow with each other, how I can tie them to my main theme and what sort of symbolism or little easter eggs i can throw in there just to keep it fresh and interesting for the viewer ( aka the person reading this aha ;;) :-* )

For this piece, i started with a big circle for the background, and then I started breaking it up in pleasing, cloud-like shapes and swirls that constantly keep your eye moving around the picture (i mean hopefully lol). The composition was inspired by a) Dazai's Mayoi card ofc, that trad Eastern illustration style with the circle and then branches of trees, and also .. kazuha's splash art ok i admit it bshsj

for this one, the roses came much, much later. Again, I added that sort of golden arcade to better frame the focal point or the main subject of the scene which was ofc her face and/or outfit. Then, since it still felt rather empty, awkward, and directionless, I tried finding a pleasing, spiral line that would compliment the already existing shapes and that would, again, move your eye all around the composition. I figured since her outfit already had those small roses stuffed in her belt, those curvy lines could become some bloody, spikey roses and boom! here are the theme and elements for you: blacks-roses-blood-deadly-sharp-gold etc. I then had her crush some of those roses in her right (ik it's the left hand shut up) hand to balance out the busier left side

and a last example, sometimes I draw multiple character poses in one piece and they sort of become my background. Yet I still have some blank spaces left so i gotta figure out a way to fill them out. Here, since the pose where he's all curled up was inspired by the TDIPUD light novel, i drew him as a "corpse" in a pool of blood, and contrasted it with some nice flowery-ish patterns and swirls that sort of come from within that bloody mess ( someone also mentioned it looks like a womb which I found very interesting as well ). The cats also helped fill out the space. On the left side, i added that swirly black sun that drips into three squares that gradually fill up with straight blackness and raindrops falling below inspired by the "a conviction that the sun will never rise again" line. I don't think I should go into detail with the symbolism cause it's pretty obvious and not that deep so i won't but yeah, and that's my BG all filled up!

I do this with most of my BGs, it's mostly just abstract shapes; I'm very fixated on making the overall composition look okay and for the piece to send a message ( most of the time ), so i don't think of backgrounds as a separate entity, they are part of an already existing idea, generally speaking.

This kinda turned into a composition discussion midway......... sorry about that....... To be completely honest with you, I have plenty of BG ideas, they kinda just spawn in my brain so i'm not exactly lacking in that department. Having to draw them and finding refs is the hard part for me

[sharpth1ng]

Hi!

So I rewatched scream recently after having read debaser four times (since November last year no I am not okay) and idk if you've already been asked this but: if you could write scream without making changes to the pov and stuff like that what would you change (if anything at all)?

Because when I was watching it I realised that I like the plot of debaser better (not necessarily because of the romance, but just on the murders and everything) and idk if that's just because you're an amazing writer (which you are BTW your writing is literally perfect I don't even know how you do it) or if it's because of how you made small details of the story make more sense or even because the killer pov works better? Idk

So yeah I'm really curious on how you would do it both on a story and on a cinematography level!!!

(also sorry if that did not make any sense I'm mostly rambling 'cause I have a lot of thoughts)

Hey, first off thank you that's so, so sweet! Second, this is a really interesting question.

Honestly theres not a whole lot I would change about scream, a lot of it is little stuff that wouldn't necessarily be a big difference in the final product. I wouldn't change much about the cinematography really, so many of the shots in this movie are made in homage to other horror movies and I love those. They feel like easter eggs.

Some examples:

Gale nearly hitting a blood-drenched sid and swerving around her matches the scene in Carrie (1976) where she almost gets hit by a car and they swerve (a bunch of the shots in these scenes are pretty matched to each other)

Caseys hanging and Pat's hanging in Suspiria (1977)

Casey's phone call and like, all of When a Stranger Calls (1979)

Billy sneaking in Sid's window and Glen sneaking in Nancy's window in A Nightmare on Elm Street (1984) - especially because Skeet was partly cast for his resemblance to Glen

This isn't even a fraction of the shot references in the movie, let alone references in dialogue, cameos from other horror movies (Linda Blair has a cameo as a reporter and Sherrif Burke is also Sargent Parker in Nightmare on Elm Street), or just movies and pop-culture references seen in the background. Like it would take me forever to list them all. I honestly can't express how satisfying and dense Scream (1996) is as a fan of horror. It goes so much further than the movies actually explicitly mentioned.

ANYWAYS. All that was just to say I wouldn't change a lot about the cinematography.

A lot of what I would change has to do with tightened plot elements. One of the things that does frustrate me about the movie is how vague Billy and Stu's alibi's are after Casey's death. I don't need them to be perfect, but we know the cops talked to them the next day at school, and later when Billy is at the police station they seem surprised to find out he left his house that night. The fact that he either lied about that or left it out would have been a major red flag for the cops, and it just seems like something you would want to consider if you're planning to get yourself arrested and betting on being released. Basically I think that should have been something he revealed when questioned by the cops at school.

A number of other details I would change mostly have to do with off-screen events, but they would alter minor stuff on screen in a way that I think would make the plot more satisfying as it unfolds. Basically I just wish Kevin Williamson had decided who did which kill. It's obvious that he decided that it didn't need explaining since it was off screen and the protagonist wouldn't have access to that information. I don't even need it to be shot that differently, I don't need Skeet or Matt in the costume instead of a stunt man to give us a sense of who is who, I just want it to be physically possible for them to get around in a way that makes sense. It should be something that can be reasoned out in a consistent way if you pay enough attention.

This is particularly a problem for me with Himbry's death and hanging, and with the chase sequence at the house. Like Ghostface kills Kenny, watches Sid run away... doesn't chase her? Like he would be behind yeah, but also she's the main target and she seems to be running down the driveway. Instead he hides Kenny's body and goes back into the house? Why? Where did Randy go and why didn't he leave through the front door? Was Ghostface just waiting inside the house for Dewey instead of going and trying to find Randy or Sid? All of this feels a little sloppy to me since we know the phones in the house work. Any of those people could be calling 911.

Another moment like this is the one where Sid gets attacked in the washroom. A lot of people take that to be Billy given the fight they've just had in the hallway, but the timing of the scene seems to follow directly after that fight. Sid walks away from him, so if she's walking directly to the washroom he's behind her, how is he going to get into the washroom and hide in on of those stalls without her noticing if he has to come in after her? This also just seems unnecessarily risky for him, given how cautious he is otherwise.

I prefer the idea that this attack isn't actually a real ghostface, it's one of the ghostface copycats we see running around (one of the two dudes we see Himbry disciplining). In the original script the scene in the washroom comes directly after Billy and Sid's fight in the hallway, with the scene of Himbry yelling at the two fake ghostfaces following after the washroom instead of the hallway fight. To me this suggests that at least in the original script, these two likely got caught harassing Sid in the washroom and thats what Himbry is disciplining them for. I really don't know why the order of those shots was changed for the movie.

(side note could these dudes be more intentionally Billy and Stu coded? Lmao like my man on the left is literally wearing Billy's same plaid shirt)

Also as a side note- some people use the matching shoes as evidence that it was Billy in the washroom, but the movie deliberately shows us that several people have those shoes, one of the others being Sheriff Burke. These shoes are actually a red herring, so we can't use them as evidence.

So yeah basically some of what I would change is the order of certain scenes. I also wouldn't mind a better indication of the timing of things, some clocks in the background of certain shots would go a long way for me. I also would have liked for the movie to do a better job laying out the geography of Stu's house, so that we know where everything is in relation to everything else before the chase. I just think that works better for a movie like this with multiple moving parts.

Oooh another big one for me is the call that Randy gets to let him know Himbry has been killed. Who does he think is calling him like that? Why are they calling the house? It obviously has to be Stu, Billy has his hands full ( 💀 ) and it would be too much of a risk to bet that people in the house would find out in time to clear out when they need them too. Basically I just think the writing of that moment could be improved, but I also think it's likely written way it is because Himbry's death scene was a later addition pushed for by executives who thought the movie needed a higher body count.

Final thing I can think of (and its pedantic as hell) is that some of Randy's movie references don't make sense. Calling Billy Leather face? Bringing up Prom Night to argue that the killer isn't Sid's dad (when the killer in prom night is a relative of the original victim)? It would be fine if the movie was pointing out Randy as being a little full of shit but the franchise positions him as the Movie Guy who knows all the Movie Stuff, so they should at least make his references work better.

Lmao ok, thats probably enough, i've written an essay. Possible there's more I would switch up but thats the stuff that comes to mind right now!

[cherrymoonvol6]

i honestly don't mean to dogpile on ASIAS more than i've already done BUT. lately i've been thinking about this pointed visual parallel near the end of ASIAS and hollow mind:

even beyond the visual similarities, one can understand both of these moments as hunter's parental figure about to decisively harm the battered-down hunter's female companion of that episode. so obviously it's interesting to see that both of these moments end very differently.

in hollow mind, hunter uses magic to straight up stop this attack by figuring out how the glyphs works by himself. the focus is, then, on luz's reaction and surprise as she sees hunter is the only reason why she's still alive.

this is completely different in ASIAS: hunter instead puts himself in harm's way, banking on darius stopping the attack because of his physical presence. he doesn't attack nor use magic.

it's also very fascinating to me that hunter is doing the same gesture as willow here. mainly because their reasons are wildly different: willow will do everything to protect her team because of her being a good leader. but narratively, hunter's intentionality has the need to protect his team in the background, because another reason is on the foreground. there's a reason hunter stays in harm's way here and not with belos: because the emotional core of this moment is on hunter and darius's connection.

(and i'm 100% reaching here but the posture of their hands is so telling too. willow's hands are facing the team, using every inch of her body to cover them as much as she's able to; yet hunter's hands are twisted in a gesture that screams "time-out")

and this is why the focus of this moment is on darius, instead.

which, you know, checks out. this was established at the beginning of the episode, and after this darius mentions that he's now worthy of his ancestry, yadda yadda.

willow's bearing in this is that hunter asks his leader for some agency and he finally gets it. which, you know, it's a step up for hunter, but this doesn't mean anything for willow, who leaves the scene in near-tears and refusing to mention hunter by his real name.

(and that's why the episode ending with willow and hunter chatting via message is just SO dumb lol. they just want their dumb crackship to be cutesy so badly.)

on the other hand, hunter's guardian is completely sidelined in hollow mind because the emotional core of this moment is in hunter's relationship with luz. hunter chooses to use luz's magic against his uncle to protect her.

i also really love the imagery of hunter creating a wall separating both luz and belos, while he stays in luz's side - exacerbating the fact that hunter's initial gesture is mostly significant for strengthening his connection with luz. and my personal favorite difference between this moment in both episodes: whereas willow sadly continues to refer to hunter by "caleb", this is the first time hunter calls luz by her name (because i am useless lunter trash).

this marks the third time hunter goes against his uncle's wishes (first time was also influenced by luz; second time was him keeping flapjack a secret), the first time hunter has ever used magic against belos, and also the shift when belos realizes that yet another golden guard has chosen to betray him...

...by being led away by a wild witch. what the fuck is up with this episode my god.

(this image is burned into my eyelids i want to escape from this pain)

you know, for all the negative stuff i spout against h/ntlow in this episode, here's the thing: i believe this is sufficiently good of a setup to build on hunter and willow's dynamic. after all, having an episode focused on hunter's bond with darius is very important for his character. the problem is that in the next episode where hunter and willow get to interact with each other, TOH decides to build hunter's dynamic with GUS.

and i think about all the time about how the premise of labyrinth runners (gus' powers going haywire when he's on very stressing situations) is such a willow thing. this episode could've easily gone the same route FTF did by having willow's powers get out of hand and force her to put up with hunter's company for a while. this means willow and hunter get to build their dynamic by being vulnerable to each other, willow gets to know the real hunter, hunter goes through a little redemption arc for what he did to willow, yadda yadda. it sounds perfect in theory. but instead, willow gets the B plot with amity and she's just supposed to be cool with hunter now because gus is. and then we don't see either of them until COTH where again, hunter has strengthened his bond with gus and he and willow just don't talk to each other ever. why would you do this TOH. you had a perfectly okay setup to have a B- couple in this show and you still managed to mess it up.

[sixstepsaway]

i've had some thoughts bouncing around for a while about ofmd s2, and in light of the news, i'm going to brain dump some of them. if you don't feel like listening to me complain about HBO and would rather just go cry about OFMD not getting season 3, that's chill, go ahead, no hard feelings

so.

season 1 was absolutely the definition of lightning in a bottle. it had great acting, great writing, gorgeous set and costume design, it was great, and not only that but it was unabashedly queer

jim had a whole episode dedicated to "actually i'm not a woman i'm just jim" and then everyone - even the bad guys, even the antagonists, even their nun nana, everyone - referred to them as they/them after that, no questions asked

the main character went through an arc that was basically figuring out his sexuality and going "oh shit, i love a man" on a show that was not directly advertised as "OUR QUEER MEANS DEATH" like a, y'know, Queer Show would be

and stede and ed's romance felt like it was important. It felt like the pirates of it all was mostly incidental, background, filler, just fun to pad out the situation and give them things to be challenged by (the badmintons!) while also being fun on its own. it's the kind of show where if you pulled all the characters out and slapped them into a whole other situation like space agents or time travellers or everyone lives together in a loft runs a bakery... it'd still work. sure, the badmintons would be less murderous and run a competing bakery or something, but it'd still work, because the focus was on the characters, and on the romance between stede and ed

the first three episodes of season 3 felt that way too. the love between stede and ed was paramount and if you swapped to a mafia au or a bakery au it'd still work (with some gentle adjustments for ed's Behavior™ to be fair)

but.

season 1, they kept saying it was a rom com, and it felt like one. it was just a rom com that was set at sea! how fun!

now, rom coms have tropes. they have genre-specific things that you kind of expect from, well, a rom com. you expect mess. you expect things like ed fucking off with jack because he doesn't feel good enough

(i've recently been rewatching new girl and although some of the humor makes me cringe, it's still a great show, and one of the main things about it is that everyone is messy. no matter how much schmitt loves cece, he's going to make mistakes. no matter how obviously nick and jess are going to end up together and belong together, they're going to sleep with the wrong people, make mistakes, break up etc. it's as much a rom com as ofmd.

one of the things that makes new girl so good and makes me love the main couples so much is how hard they work to be together, how they fight adversity and the mess of their own flaws and toxicity and still get together because they love each other most, in the end)

i remember in s1 thinking how if stede had been a woman, jack would have been too, and ed would've had at least one romantic/sexual scene with jack when he ran away with him

but i also remember thinking, "yeah, but the show hadn't explicitly done the his name is ed reveal and the kiss on the beach yet, and the reveal hits so hard, it makes sense not to do that earlier", and tbh i stand by that

which brings me to s2, after the first three eps, where they tried to go back to rom com and it just felt... forced.

rom coms usually have adversity. they have other characters that directly and truly threaten the main pairing by being interesting to those characters! no matter how you feel about izzy, he was framed as a love interest or as an ex that was still complicated, but the show very much tiptoed around that

does "i have love for you" and "i loved you best i could" make sense for the characters? yeah.

do i feel like if ed was a woman, she and izzy would've had a messy rebound relationship for stede to have to contend with, for the two of them to come out the other side of wanting each other from? yeah.

ofmd s1 felt unabashedly queer. s2 felt like they didn't want to be too gay.

they put olu with a Woman™, they put jim with a woman almost like it was less queer and more acceptable this way than queering olu, they completely waved off olu and jim's relationship and dropped any concept of polyamory because that would've made it even queerer, not less queer

(i'm using queer here as a definition more of breaking boundaries and being outside of the norm to the extent it makes cishets deeply uncomfortable and the queer in question aren't conforming to society's standards. and this reading of s2 (and s1) is entirely subjective, it's just what's been bubbling here for me)

pete and lucius went from "we don't own each other" to marriage, with no footnotes of what marriage meant to them specifically, whether they were, in fact, conforming with the 'norm' of marriage (exclusivity, labels, definitions etc) or whether they were still chill about these things or whether this now meant no more penis drawings

the queerest episode was probably the party episode (which was so good), but even that was especially queer because some cast members fought to make it so (con wanting izzy's drag to be beautiful not funny has HAUNTED ME, because that means it was originally supposed to be played for laughs!!) not because it was that way naturally

the fact i read somewhere that the party and the drag was originally lupete's wedding makes so much more sense to me because yeah, they WOULD have a wedding like that, but instead they got a lame final episode wedding because it would have been way too queer to do it at calypso's birthday with drag and queer joy everywhere

it also would have been more realistic to the lucius and pete we got in season 1.

there were a lot of things in season 2 that felt... weird. we've talked about it. we have all talked about it.

the final episode, even outside of the thing i hated most, was just horribly written imo. there's big sweeping gestures and no kind of real emotional pay off for the main relationships (lupete included), and everything got tied with a neat little bow at the end

i remember when we were told s2 was 8 episodes and how much the budget had been chopped thinking, "ha, we're so not getting a season 3"

i remember when i realized how weirdly rewritten most of season 2 had been thinking, "yeah, there's not going to be a season 3"

i remember when bitching about ed's arc being totally truncated and handwaved thinking, "mm, we're not getting a season 3"

and i remember when the Revenge sailed off into the sunset with everyone but ed and stede on board thinking, "oh yeah, we're done."

just enough was left open that a season 3 could happen.

just enough was left open that if a miracle happened, there'd be something to do with season 3.

but i genuinely, 100%, hand on my heart, think djenks knew he wasn't getting a season 3

and don't get me wrong, i'm not absolving him of the poor writing choices he made in season 2, but i am saying it makes a lot more sense if you think of it from the perspective of corporate meddling and having everything taken away while he was actively trying to make season 2

we already know HBO cut the budget a ridiculous amount so they just had to make everything work with what they had. we already know HBO cut the episode number.

season 2 plays out like they prepped a good chunk of it, ready for 10 episodes, and then HBO cut the budget and cut the episodes

and so things had to be changed and chopped about. ed's arc got lots of screen time and focus for three episodes (before the cuts) and then things got quicker, and fast

characters were cut for time and for budget reasons.

and then i think towards the end of production and the end of writing, djenks learned the odds of season 3 were minimal at best, and he panicked

i think the original plan was probably for ed's arc to go for the majority of season 2. maybe a middle piece where he and stede tried but it still wasn't Right (last night was a mistake) because ed had so much to work on and so much to heal

i genuinely wonder if the finale was completely rewritten at the last minute because to me it makes way, way more sense from a narrative standpoint for things to have been more staggered out. let's consider ten episodes instead of 8:

episodes 1-5: same as they were when aired, including the gravy basket giving us set-up for what ed's dealing with internally, giving us something to latch onto and prepare for his redemption. NO KISS AT THE END OF EPISODE 5. episode 6: ed is still wearing the bell. he's sort of done his amends with lucius, but now he needs to do amends with the rest of the ship. stede is still learning his piratey ways, so there's hijinks in the background. jim and archie and olu try to decide what their relationship is after the garlic and all, and debate room arrangements. lucius and pete announce their engagement. stede and ed nearly kiss. episode 7: more ed redemption arc. he's still working at things, he's shying away from violence because violence is what took him down this dark path to begin with. maybe we get some discussion of his father. stede, blind to ed's flaws, insists he's nothing like his father! ed tries to make amends with izzy but somehow this is the hardest of all because he hurt him the most of all. izzy gets chance to apologize for what he now sees as his part in pushing ed down into the darkness (trying to drag blackbeard back) and izzy's apology makes ed feel worse somehow and gives him some absolution when he finally figures out how to return his own. ed kisses stede but says he wants to take it slow. episode 8: wedding episode!! calypso's birthday!! ed uses his loot to bankroll lupete's wedding. stede reacts with violence to ned and we know from everything before that ed is actively trying to distance himself from the violence of piracy because, yeah, of course he is. is it a good idea? nope. does it make sense to his character for him to still be putting a good chunk of the blame on piracy for his actions, rather than accepting the parts of his whole and learning how to regulate those parts healthily? yes. anyway, stede reacts to his own violence by clutching for ed, ed feels after like his boundaries were pushed. same as show. episode 9: ed is having a meltdown. he and izzy have started to heal, so izzy watching him stare at fishing boats and just chatting to him like nothing happened actually makes a lick of sense. lupete are on their honeymoon at jackie's. olu gets to hook back up with zheng and archie and jim want to go along because they're not super happy on the ship still because although ed is doing better, the past of what he does still hangs over everyone. olu, zheng, jim and archie do not discuss the poly of it all properly, and it's hilarious and a mess, and gives us something to look forward to handling in season 3. ed freaks out about stede being violent when he's the one thing he felt like wasn't violent (and thus safe for him to be with), and about taking it not at all slow, breaks things off and runs away. izzy gets stede to come back to the ship. stede gets into a fight with zheng, the bombs go off, whatever (not a fan of this for her sake but if it has to happen, it can happen) episode 10: ed is off fishing but it's not going well and he's pissing pop-pop off all the time because he's not good at fishing. stede and co are handling the ricky of it all. the episode is mostly the same at the start, but instead of ed immediately going "omg, i gotta save bae" he doesn't find out about the attack until right at the end of the episode. stede and co make it back to the revenge and escape safely, and when ed retrieves his leathers and returns he thinks they're dead! he threatens/tortures/whatever some english and they say no, stede escaped! they all escaped! the season ends with ed, all decked out in his leathers, with his sword, now in the position stede was last season: staring out over the water, planning to find the man he loves.

this sets season 3 up for ed to be on his own for a little while, for him to handle and figure out how to channel his violence into something 'good' (wanting to find his love, wanting to protect his crew etc).

maybe season 3 flashes back to baby!ed again and the fact his first act of violence against his father wasn't motivated by anger or spite, it was motivated by wanting to protect someone he loved: his mum.

then season 3 they find each other again, and maybe they meet in the moonlight for the parallel to hit even better, they finally get back together properly, for good, with maybe some comedic issues along the way, and ed finds his place in the world to be less "blackbeard, the terror of the seas" and more "ed protects those he loves."

i honestly think this is probably how the show was originally meant to go, or at least something close.

i think midway through season 2, djenks heard it was over and he (rightfully) panicked and threw together a finale that tied up as many loose ends as he could because he knew.

and i dont think there's anything that could've been done about it. i think it was dead in the water (no pun intended) the moment all the MAX/HBO/whatever reshuffles happened, I think it was too queer and I genuinely think executive meddling made a lot of the more queer elements go away, possibly right down to trying to wipe away the exes/love interests of it all with that whole father figure thing

and, again, i'm not absolving djenks of some of his more baffling writing decisions. he's a grown man and he makes his own choices. but i am saying i think it explains a LOT about why the finale we got is what we got, and i'm not sorry stede and ed ended the show together rather than apart or with their lives hanging in the balance or something

anyway these are just a bunch of thoughts i've been having, tied together by the cancellation.

[princeanon]

I made a modern adaptation of some R&J scenes (2.4 and 3.1) for a film project, and just had to share some of my favorite moments, in no particular order

“Queen Mab get to you again?”

- Benvolio, to Mercutio

The film was called Queen Mab, and it’s centered around Mercutio, with an emphasis on his dreams and hints to a time loop situation?

There was SO MUCH DOMESTIC BENCUTIO YOU HAVE NO IDEa

Like, Ben wakes Mercutio up and calls him sUnShiNe before handing him water

Also, he calls Mercutio “Merc” a few times throughout the film

All of the characters names are shortened in the script purely because I didn’t want to type them every time (Tybalt=Ty, Benvolio=Ben, Mercutio=Merc, Romeo=Ro, and Juliet was just Juliet)

Ben is CONSTANTLY checking his phone for texts from Romeo like he’s so worried poor guy

Meanwhile Merc is tormenting him

“I can see it now:

Here lies Romeo. Died from being left on read.”

- Mercutio, about Romeo’s crush on Rosaline

Ben extends an arm to Merc as they leave, and he takes it before grabbing his dagger

When they go to find Romeo, Ben brings a notebook with him that disappears once the Merc and Tybalt fight starts

Ben is wearing a shirt that says “MERCUTIO IS MY HOMEBOY”

a necklace with a purple gem (👀)

a cute blue and green jacket

and a beanie that does not fit properly at all

Meanwhile Merc is wearing a purple MIT shirt

When Ben and Merc spot Romeo, they hide behind a tree like those classic cartoons where you can only see their upper half sticking out of the tree

Our Romeo & Juliet were in a production of Sound of Music together as Maria and Von Trapp respectively so when I told them to act in love in the distance, they just started doing the Laendler choreography

Ben shows Tybalt’s “challenge” for Romeo to Merc via his phone, which implies that Tybalt texted Benvolio and was like “hey man can you let your cousin know I wanna fight him?”

We needed a shot of our Tybalt appearing behind Ben & Merc, and Ty was insistent that he climb a nearby tree and jump out of it

That shot took 15+ takes before we even got to his part, so he spent the better part of half an hour sitting in a tree waiting for his queue.

He jumped down too early during one take and had to re-climb the tree

Merc boops Ben several times throughout the film, and we had a few very flirtatious takes that didn’t make the Final Cut because we kept breaking character

“Careful, Good Benvolio, your irrefutable temper is showing”

- Merc to Ben when he complains about Romeo’s terrible decision-making skills

He calls him “Benny boy”

During one take, he accidentally said “bunny boy” and I told him he could definitely do that purposely if he wanted

Tybalt had recently done a production of R&J, so he asked to add the “peace be with you” line into the script, which I 100% supported, we spent a while during the shoot just quoting R&J back and forth, and he noticed all of my references in the script

Romeo was instructed to enter the Tybalt scene after a specific line, so he hid around the corner and FULLY RAN into the scene yelling “GUYS GUYS YOU’LL NEVER BELIEVE WHAT I—“

Romeo is taller than both Ben and Merc, and he almost tackles both during his entrance

Oh my gosh Romeo and Tybalt have some kind of bromance going on IRL which is so fun but it was so difficult to get the two of them to pay attention because they were just hanging out with each other

Romeo had a line that goes “woah, Tybalt, calm down” and instead he said “Yoooo, Tybalt, chill out man” which made all of us break

When Tybalt confronts Romeo, you can hear a bird in the background, that stops the second Ty pulls out his dagger, which was accidental but iconic

I choreographed a sword fight, but Merc and Ty mostly improvised, they had a lot of fun

Our Juliet filmed the whole scene by the way, along with most of the other scenes

Also, in the script she had one line, in which she was supposed to say something with the word Capulet, and she kept joking to everyone that she was already off book

I ended up cutting the line for convenience and plot purposes, sorry Jules 😭

“Capulet”

- Not Juliet, since the line got cut

Romeo & Juliet joked about going to marriage counseling after they were struggling to film one of the scenes (J on camera, R with the boom mic)

They traded jobs after J accidentally filmed R for the entire take

In between shots, Ty and Merc were stabbing mushrooms with their daggers, Romeo was throwing rocks at a spider, and Juliet and I were just like, watching all of it happen

We had fake blood for Merc to put on his hand, and it ended up staining his hand so he spent like 10 minutes washing it off afterwards

When Merc dies, Ben holds his hand and rests his face against Merc’s head (also, he fully dies in Ben’s lap)

Then we went back and filmed the first scene and lemme tell you Mercutio is iconic but he was so so so bad at waking up

He kept asking me “how am I supposed to wake up???? How does one wake up scared???” And I was like “I don’t know man!!!!!”

Some lines taken directly from the play include “Romeo, my cousin Romeo!” (2.1) “A challenge, on my life” (2.4) “Come sir, your passado” (3.1) and of course, “Peace be with you” (3.1)

Also, Merc still calls Ty a ratcatcher, and Ty calls out to Ben and Merc by saying gentlemen

Yeah, it was a lot of fun. Took 4 hours of filming for a 4 minute long film, and I wouldn’t have it any other way.

I played Benvolio by the way. Probably should have mentioned that sooner.

[alotogifs]

A League of Their Own Cast Live Tweets 1x08 Pt.2

Abbi: I had a hard time keeping it together in this scene with Kate Berlant. Will: Hahahaha. Kate Berlant for president.

Will: Oh boy the song! We were all very nervous. Kelly has a beautiful voice.

D’arcy:😍😍😍 #Delucathebazooka  😍😍😍 Will: It is heartbreaking to see Jo in a Blue Sox uniform. It felt like something was wrong on set! Abbi: If you notice, some of the music is not from the same period that the show takes place-- this was very intentional! We wanted to use music that felt rebellious like our characters + that meant jumping ahead in time a bit. 

Will: This is the real hurt for Bert and Toni. Abbi: "For some of us, safe isn't safe" Will: "For some of us safe isn't safe." Follow @/butchythings who plays Bert!

Will: GODAMMIT CHERYL Abbi: This scene right here between Chanté Adams and Gbemi Ikumelo THIS SCENE and these two. One of the most dynamic and real and nuanced and deepest friendships on TV. I might be biased, but it's just true. Chanté: This was Gbemi’s last scene of the season. It was hard. While most of us were going back to LA and NY, Gbemi was going back to London and that broke my heart. I tried to get her to move next door so we could see each other everyday and raise our kids together but she couldn’t 😭 Gbemi: Still tryna make it happen 😭😭 Will: This is the scene in the whole show that makes me cry the most, because you can see them realizing they've never said goodbye before. Chanté Adams and Gbemi Ikumelo are geniuses. Will: The score from Zach and Nick and Deantoni here is just amazing.

Abbi: I love Lupe + Roberta Colindrez.

Will: There is a story about how this speech was filmed. HOW DO YOU WANT THIS TO END? Abbi kills it here. Will: Okay. I'll tell you the story! We shot the reaction half of this scene on the field, and then it started raining. So Abbi had to shoot her side of it a week later, on a platform in the middle of the street outside Toni's house. Will: She is yelling at the crew mostly. It was amazing. She's so talented. Will: Rob the bank! Has become our unofficial motto for the process of making the show too.

Will: Okay. Them carrying around here is a real story from a softball team. And it came to the show courtesy of ABBI'S DAD. Who is now in charge of finding the end of every season.   Abbi: My dad gave me the end of the Peaches story here. Still cannot believe it. I called him one night, stuck. He told me this --It is inspired by a real story from women's college softball. Thanks Big Al. Love you. 

Will: Barnstorming is such a huge part of baseball history, and Marquise does such a beautiful job bringing it to life as Red [Barnstorming refers to sports teams that travel to various locations, usually small towns, to stage exhibition matches.] Will: GODDAMMIT CHERYL

Will: WE TECHNICALLY LOST D’arcy: how many times have y’all watched this finale? Abbi: Dale Dickey gets me every damn time. What a masterful actor. D’arcy: WE! HAVE! TO! TAKE! CARE! OF! OUR! OWN! ❤️❤️❤️❤️ oh Dale & Kelly 😍 Will: WE HAVE TO TAKE CARE OF OUR OWN with Beverly kills me. "war bonds" was an improvised callback.

Abbi: Ohh boy. This is prob my favorite scene with my girl D’arcy Carden The Peaches come between them... just like the world.   D’arcy: LOL IM CRYING Will: Abbi and D’arcy just kill me in this scene. They both come from comedy backgrounds and look at what they are doing. We are so lucky. 

Will: Seeing Max in uniform killed me too. Abbi: Max finally in her own uniform! The fucking best. 

Will: Repeating GO GET A THING was an improv from Kelly and Roberta. Abbi: Always... go get a thing.

Will: Abbi wrote "you changed my whole life" "you opened me up again" and it made me cry when I first read it. 

Abbi: Thanks so much for watching with us tonight and in general. What a treat. Will: Thanks for watching with us! Wow. There's a lot of you! Will: This is a show for everyone told through perspectives you don't usually hear universal stories from. Thanks for helping get the word out! Will: WE ARE ALL FRUIT NOW

[hadesknockedupintheunderworld]

Sonine Prime ... Part 1

Hi, everyone and welcome to Sonine Prime! The part of the show when I come out and talk about Sonine (and a bit of Sontails) in Sonic Prime!

And now, a bit of background before I beginㅤ

I have only recently become a Sonic fan. I played a few games when I was younger, watched the first 3 tv shows all the way through, watched a bit of the Sonic Boom tv show, and I bought Sonic Frontiers at release. But, strangely enough, it was Sonic Prime that got me obsessed with this franchise.

And it was, frankly, more queer than I had expected it to be.

ㅤ

Part 2 >>

(Essay/thoughts/analysis under the cut)

ㅤ

Now, right off the bat

S1 Episode 1.

Now, I know this is supposed to mostly be about Sonine, but I would be remiss if I didn't mention the little scene towards the beginning where Sonic has a little moment with each of his friends. For the record, I think that Sonic Prime leaves it open so that you can interpret Sonic as having crushes on/having some sort of not strictly friends deal with most of his friends (in this case, I am at least referring to Knuckles, Tails, and Amy) and his rival (Shadow).

Sonic's interaction with Tails is Tails catching him to save him, and Sonic being thankful, Sonic gives Rouge a wave and thanks her when she saves him (to which she says "Don't mention it. Literally"), Sonic asks Knuckles if he's doing okay and Knuckles says "The only thing that flusters me is when you're late, Sonic" (interesting choice of words there), and then of course Amy asking where Sonic's been, and Sonic leaning over the robot to say he got sidetracked.

Now, this is an image of that scene with Amy, one of many I have seen people show off as S0namy proof. And I will say now that this look will come back later.

Oh, and that this looks just a little familiar, doesn't it?

Huh no way it's the

It's the S2 scene where Sonic is talking to Nine through the Eggforcer and needs to be talked out of saving him asap

Now, back to the episode.

While this doesn't mean much yet, just before we get to Sonic shattering the Paradox Prism, he gets to fight with Tails again, who warns him to be careful while Sonic brushes him off. Then it switches to Amy, who says "if eggman wants it, it can't be good".

Tally 1 for the "Tails and Amy get the last word" category. Why does this category matter? Well...just the sheer amount of times it pairs them up specifically for parallel reasons. Only you can decide what it means for you.

Then, after our very first (of many) Sonic shattering the prism scenes, we watch Sonic float unconsciously through the space in between the shatterspaces, as apparitions of his friends and Robotnik speak. Everyone gives their oneliners that *will* come up again, and then before Sonic enters New Yolk, three people speak a second time.

These three are Amy, Tails, and Eggman.

And out of the three, only Amy and Tails' apparitions are actually shown onscreen when they get a second word in (with phrases we don't see later with the reveal of Ghost Hill's existence).

Amy: Hey. I may be the one who can bring everyone together, but there's only one hedgehog they'll follow into battle.

Tails: Heh heh. I don't need an army when I've got a friend like you Sonic.

And not only do they get a second word, but a third word!

Amy: We'd follow you anywhere, Sonic!

Tails: Nothing could break our friendship, Sonic.

Tails and Amy get the last word: II

And while this would be a topic for a different essay that would go into parallels like these, I just also think it very interesting that Amy's lines are more focused on Amy assuring Sonic how everyone feels about him, while all of Tails apparition's lines (all 3) are about his bond with Sonic.

"As long as I'm around, you'll always have a wingman"

...

"Nothing could break our friendship, Sonic"

"I don't need an army when I've got a friend like you, Sonic"

...

Barely 4 minutes into episode 1. Food for thought.

ㅤ

Now we enter the shatterverse.

Sonic spends a good disoriented minute getting knocked around in New Yolk, and the first names he calls are Tails, then Amy

"Tails? Amy? ...Heck I'll even take Knuckles at this point."

Tails and Amy being singled out specifically: III

After a short moment of trying to figure out where he is, and also finding Big and Froggy, Sonic ends up running from the Eggforcers, after which he realizes that New Yolk *is* Green Hill.

"The loop de loop. Hedgehog's Pass! And that should be Tails's Lab! Oh, Tails...what happened?"

Aside from when he found Big + Froggy, and when he mentioned Tails, Amy, and Knuckles, Sonic has not yet moved to figure out what happened to his friends. But he *does* specifically mention *only* Tails in his "What happened here" set of lines, which leads us to a flashback.

ㅤ

Now, again, I'm going to try not to make this too much about other ships when I'm making this for Sonine, but I think this bit of the flashback is important. And I think the writers' choice specifically to have Eggman say something nasty about Tails and only Tails to get Sonic riled up.

"You can mess with me Eggman, but nobody messes with my best friend!"

Most of this fight is spent with Sonic fighting the Eggcrusher in his normal "Fight Eggman and throw insults back and forth attitude". Almost no matter what Eggman says to him, it does not get Sonic riled up to attack him in the way he is baiting him to.

The writers could have chose any friend of Sonic’s or multiple for Eggman to insult, leading Sonic to become riled up to destroy him and fall right into that trap. Sonic's line very easily here could have been "You can mess with me, Eggman, but nobody messes with my friends!" And this would not at all seem abnormal, because this is Sonic, and because earlier in the episode Sonic monologued about how home is where your friends are.

And yet...it's Eggman calling Tails an ugly two tailed mutant fox that gets Sonic to block out everything else to zero in on hitting Eggman hard for what he'd said. Not "nobody messes with my friends" but "nobody messes with my best friend"

This show is already emphasizing how Big, Froggy, Amy, Tails, Rouge, and Knuckles are all his friends, but Tails is special, because they're best friends, huh?

And not to mention the parallel's between Tails' "Sonic, noooo!" before Sonic pounds the Eggcrusher inro the ground, creating a shockwave, and his "Sonic, wait!" before Sonic shatters the Paradox Prism, also causing a shockwave. ....Or the fact that Tails gets a lot of the spotlight in this flashback, from the audience getting to see a lot of his thoughts/what he was doing while Sonic was fighting the Eggcrusher, or Sonic coming into the lab to apologize and try to make up with him, or–

But I digress.

ㅤ

Post flashback, Sonic has the full realization that New Yolk is Green Hill, and remembers the paradox prism. His first thought after this?

"I gotta find Tails"

Now, you may be thinking. "Tumblr user hadesknockedupintheunderworld. That doesn't mean anything. Maybe he's looking for Tails just to make sure he's okay, or because he trusts that Tails can help him figure out/understand exactly what's happening here"

And to that I say that I am the last person who's going to argue that this means Sonic doesn’t care about his other friends or that this is inherently romantic. I just think it's interesting the focus that Tails is getting in episode 1 alone, and that after remembering more of what happened his first thought is to search for him specifically. And he doesn’t stray from this path either! He makes mention of his goal to find Tails before fighting Dr. Babble for the first time, and again when he decides to escape Babble in part because of his refusal to fight kids and in other part to get back on track to finding Tails.

ㅤ

Anddd about 22 minutes in, just after following him through the underground transport and believing him to be Tails, we meet the second star of today's show!!

Wow Sonic really does keep making that face doesn't he?

Now, at first I was going to break this first meeting down but there was just *much* too much to comment on in a way that would do justice to the scene itself. As such, I'm planning to insert a video of the scene and break it down from there.

But, tumblr has a limit of 1 video per post, so

I will see you all in part 2! Sorry we haven't gotten much into the Sonine itself yet but by god we'll be moving on from crumbs to meals in a second.

[zahri-melitor]

Newish Comics:

The Flash #7: The Linear Men? The Linear Men??? Si Spurrier, what is cooking in your brain and can you keep giving me a direct line to it? (I mean bringing the Linear Men in a series that also gave us Gold Beetle makes perfect sense because Rip would be so into her but wow. It looks like they've barely been used since Flashpoint too). Also it's fascinating watching the re-establishment of Max and Bart's relationship.

Barry seems to finally have risen out of his ennui a bit, only to notice Something Is Wrong With Linda and then immediately suspect (wrongly) it's Hartley. Still pretty sure Linda's main issue is PPD but it being imposed by an external source is certainly something.

Green Arrow #10: this is another issue that mostly exists for people to hug each other, while Williamson goes 'remember that these people had relationships?' Sean Izaakse's art is just so good in terms of drawing the memory backgrounds so well I can pick out the specific issues and storylines he used as references (Batman + Arsenal shoutout!)

Also, remember when Amanda Waller didn't put bombs in people's heads, she just very occasionally put explosive collars or wristbands on the most dangerous and/or irritating Suicide Squad members? (Like Captain Boomerang?) Because I do. I remember Suicide Squad 1987.

Batman: The Brave and the Bold #11: part of this is me just being contrary, I know, but I am extremely not convinced we are going to see Maps as an active Robin in a main title, given Kerschl is a Gotham Academy creator anyway, and she's currently getting appearances as Meridian over in Birds of Prey. Gotham Academy continuity is only about 1/4 linked to main book continuity. (Someone is going to try and point out 'they appeared in Robin War' or something but it was an active and new title then, and honestly, nobody writing most Bat titles cares about them. It's its own sub universe. Also this story has Bruce dating Isla MacPherson, something I guarantee will not be followed up anywhere else)

Also imagine being called Karl Kerschl and coming to DC to write? How much time does this poor man spend saying "no, not Kesel".

The Artemis story remains amazing and I am fully supportive of it retconning whatever character crimes it is currently trying to excuse as weird.

Also how did we get so unlucky as to have both a Bat Lash AND a Sgt Rock story in this issue?

Amazons Attack #6: and this tied things off nicely! Honestly for an event that didn't need to happen, Josie Campbell did well with it, featured a whole host of Wonder Woman characters that Tom King's barely interacting with, and added to some relationships between characters that needed additional work.

Alan Scott: The Green Lantern #5: I am sure this is a far more meaningful issue if you care deeply about Green Lantern lore. Also DELIGHTED that the JSA team up in this series actually happens on page rather than in the final splash like in Wesley Dodds: The Sandman. (Wesley Dodds is still the best of the three minis to me, but I'm happy here that we're going to get JSA backup).

The Warlord #45: Previously on Lost World of the Warlord (I said I would) Travis set out to find out what had happened to his daughter Jennifer. He goes back to the village of dwarfs and gets his old sword back (since he chucked Hellfire into a lake), and ends up fighting some Cyclops' that took several of the dwarves to eat. Tragically nothing particularly fun happens here (though a skeleton IS tied to a cross, the bondage isn't involving any characters I care about AND it's just a warning threat)

Also something weird went on with the lettering this issue where what I think were script directions ended up as text boxes for all the scene transitions. If it was a stylistic choice on Grell's part it's a particularly odd one.

[hopeymchope]

DanganLike, Ahoy: 'Inescapable' is a rollercoaster of highs and lows

I've previously laid out what "Inescapable: No Rules, No Rescue" is about and how its gameplay works, so I'm not going to reiterate that here. Right now, I'm going to focus on explaining what's great about it... and sadly, why it ultimately disappointed me.

You might say that Inescapable left me a bit 'upsetty spaghetti.'

It's blatantly obvious how much time and effort were put into this game... not only because the art is gorgeous and there's clearly a lot of love poured into the dialogue, but mostly because each of the game's four "routes" contains so much unique material. You spend the first half of your playthrough making the decisions that wind up deciding what the second half will be, meaning that the entire second half — 50% of a given playthrough's runtime! — can be completely different on four different runs. Although plenty of visual novels have alternate routes/endings, few I've encountered do it to this extent. And even when they do contain such extensive differences between routes, they don't usually do this MANY routes; consider 'Steins;Gate 0', which has only two major routes once it breaks off.

Literally the first line of the entire game is a reference to another piece of media. It will not be the last. And I say that with affection! I found these references fun.

In essence, the devs at Dreamloop games have scripted, directed VAs, and made distinct CGs for 2.5 complete runs of a a story that tkes roughly 12 hours on the first pass, giving you well over 30 hours of playtime... provided you want all that. Some of the routes even have unique gameplay mechanics JUST for them!!

Searching 3D environments where our characters stand as 2D cutouts... seems familiar.

Dreamloop's European team wear their affection for Danganronpa on their sleeve, too. Early on, the characters participate in a pretend murder-mystery where they are challenged to find "the Blackened." When/if blood is spilled, it's usually bright pink. Someone breaks into Monokuma's signature laugh at one point... these devs are people of refined tastes. :)

One of many overt references to the devs' love for DR.

And oh god, that voice acting. Most major scenes are fully voiced in English, but of the four routes in the game — Greed, Lust, Suspicion, and Trust — it's the Suspicion route that really shows how excellent their VAs can be. They will break your fucking heart in that storyline. Highest possible kudos for those performances.

But let's dip deeper into those four routes, because their presence is both a big brag point (tons of content!) and also the game's biggest downfall. The main problems with them are twofold:

If you're going to have four different second-halves of your game, they ALL need to align with that first half. But because the game uses such arbitrary reasons for why it slots you into one of its four routes (I'll circle back to that), the player character — Harrison — can suddenly come off as being WILDLY different after doing very fucking little to justify it. Two of the routes just... don't feel like you're playing the same character any more after the transition into the back half; Harrison goes from being well-meaning but nervous and full of self-doubt to suddenly being defined and dominated by some new trait that has NEVER existed before then.

But there's an even bigger issue with the four routes. See, most visual novels with multiple endings/routes keep the characters consistent across all the story branches; it's only your choices that change what storyline you wind up on. Even in Danganronpa, when you play any bonus modes or side games (Island Mode, UTDP, Danganronpa S), the characters remain inherently the same people. 'Inescapable' doesn't adhere to this logic, though; the personalities, behavior, and background motivations of the characters are completely different on different routes. And I don't just mean "In one route they are mean and in another they are nice." I mean they are so FUNDAMENTALLY different that you just have to accept that this person containing the same name, VA, and sprites is a completely different character. If the same person opens up/reveals more of themselves to you (i.e., Harrison) on two different routes, then one route could have that person reveal their fears, insecurities, and innate kindness... while the other route reveals them to be a sociopathic, Machiavellian figure (sorry for the bad rap, Nic). If you a character see fall from grace into becoming basically a Nazi on one route, another route might show you that same character as someone who holds onto their best ideals even in the face of brutal hardship. It's hard to even explain how INCREDIBLY different these characters are between routes. In one route, a quiet character is just a shy sweetheart waiting to be brought into the light... in another, they're a complete sociopath who tortures with detached curiosity. These people are ALL-FUCKING-OVER the place!

Mia is Harrison's closest confidant and ally throughout the first half of the game. And the sprite shown here is giving major Chiaki vibes.

I can truly say that I've never seen another visual novel take that approach before... and this break from the norm only helps to make it clear WHY we established that norm. It's hard to embrace and love a character who winds up an important, trustworthy ally on one route when you've already seen the same person be your most aggressive, duplicitious nemesis on another route. It serves as a powerful deterrant to establishing much emotional attachment to these people. Everybody I loved in the first half of the game eventually became people I no longer cared about, because the routes make it clear that they can each suddenly become ANY type of character at ANY time the writers demand it.

There's some commentary on modern politics as well as representation of gay, non-binary and asexual people in here. But is it still desirable representation if those characters only reveal their sexual preferences on ONE story route — and worse, they're evil on some other route???

As long as we're talking about routes, though, let's break them all down in regards to how you reach them. (Yup, this is the time for that circle-back I promised y'all earlier.) The game does NOT provide any hints or insight into how you get onto the routes, but people who've brute-forced the game and looked into the files have figured out quite a bit. And boy, these triggers are... some bullshit.

You get Greed by winning competitions or playing built-in mini-games. I wound up on this route during my first playthrough SOLELY because the game includes a daily (in-game daily, that is — and a 'day' in the game is usually around seven minutes) Wordle mini-game, and I played it regularly. I also played the three Arcade cabinet mini-games (an Asteroids clone, a side-scrolling infinite runner, and... Seagull BBQ, which is by far the most fascinating/weird one IMO). And playing mini-games apparently means you're greedy, because it tosses you onto this route where your character suddenly values money over all else. (????) Other stuff that leads you down this path includes winning any games in the story, such as when the characters do a tug-of-war or host a trivia quiz about each other. YEAH, playing the quiz well evidently is a sign of Greed... THIS is the kind of shit that makes these triggers so frustrating.

You get Lust by talking a lot to any characters the game deems "scantily clad" or possibly, uh... fetish-ize-able. That means spending time with the innocent maid (Annika) counts for this ending because she's dressed as a maid, and that's a potential fetish, so fuck you. :P Talking to Giovanni the Italian 50something dude ALSO counts, because his shirt is hanging open to reveal his musculature. The twin-tailed teenage heir to a fortune? That fuckin' counts, too — she's young and small, ergo it's now a "lust' point. Talking to Eva, the excessively flirty social media diva in small clothing? OBVIOUSLY counts... but that's really the only one that legitimately makes some sense. (Weirdly, spending time with the huge-boobed Portuguese mechanic who always sports her midriff seemingly does NOT count towards this route. Is it because she's in her 30s? Is this sexist ageism shit?) Other triggers for this one are thankfully more obvious: Choosing to play around with or be alone with any girl (even if it's part of a meta-game, such as when the cast are playing 'Caverns & Wyverns'... yeah, that's a thing), going to the sauna alone with a girl, etc.

Off-brand Fast & Furious movies are somehow a plot point on MULTIPLE routes. Starring "Bill Petrol"!

You get Suspicion by spending most of your time talking to your most trusted confidant (Mia) and/or to the most suspicious/secretive person around (Sasha). Also eavesdropping on conversations or spying on people to learn what they're up to will get you here. Oh, and when the producers tell you that you can use in-game points to unlock bits of "Dirt or "Gossip" that will reveal secrets about the other contestants? Yeah, going for "Dirt" whatsoever will ABSOLUTELY get you on this route. This is the route that most heavily caters to Danganronpa fans, because this is the one that leads to you solving a series of murders on the island. And yes, you'll be investigating crime scenes, collecting evidence, and presenting it at opportune times to corner the killer! Unfortunately, the ultimate thesis is pretty much the opposite of Danganonpa: There's no hope to be found on this route. Instead, this is the perfect route for those oddballs who mostly liked Danganronpa but really felt Despair should've won. :P

Like I said, the hardest route to get is definitely Trust. You have to be RIDICULOUSLY pure and avoid ANY/ALL of the triggers for the other three in order to wind up on "Trust." In other words: Spend almost all your time with Daan, Lumi, Francisca, and/or Isak (because these are, for some reason, NOT triggers for other routes). Refuse to ever look at the unlockable "Dirt" or "Gossip." Never eavesdrop and never spy, no matter how sus a character is acting. Refuse to participate in as many in-story games as possible — even when you are prompted by the game to enter an answer or choose from a set of choices, try to find a way to refuse or to enter blatantly fake responses. Like, if the game says "Guess who the answer is to this question"? Just say "Nobody" or some crap like that. :P Don't play mini-games, because Wordle and Asteroids are somehow vaguely evil for reasons I don't get. At one point, there's an in-story competition where you have to choose to either take money (Greed) or expose someone's secrets (Suspicion), and you either need to know which characters to speak with in order to avoid BOTH options, or you need to keep them both as balanced as humanly possible.

It's unsurprising, I'm sure, that Trust is basically the mega-happy ending. But because Trust is easily the hardest route to access, you'll probably see these characters spiral into some shitty behavior on those OTHER routes well before you see them settle into something more peaceful. Which means that unfortunately — due to what I said earlier about the characters being wildly different people on different routes — this happy ending feels pretty unearned, maybe even unwanted. Because no matter how much of a pal they are on the "Trust" path, someone with the same name who looks and sounds the same was willing to go full fucking psycho on you with VERY little provocation on another route. So do you really think these people deserve this mega-happy ending? (It doesn't help that "Trust" also runs pretty long without much happening for 1/3 of it... it can turn into the most boring of the four, imo.)

The story supposedly takes place in 2017, but it sometimes makes references to things that didn't yet exist then. Oh well.

None of these routes are free from writing issues, unfortunately, Where the game excels at making very distinctive characters who are initially interesting despite their Choose-Your-Own-Adventure personalities, the actual overall plotting are where things always seem to fall apart. For example: In "Trust," a character disappears to go work secretly behind-the-scenes to free the group. And this staged disappearance of a major ally is probably the BIGGEST plot point in the final act of this route. Yet, ultimately, said ally... does nothing. They just vanish for most of the story, only to show up at the end and be like "Oh yeah I'm fine but there was no reason for my disappearance, I didn't do anything." It's not even clear why or how the whole 'Inescapable' broadcast/game ends on this route! It just... STOPS, after the characters are told multiple times by the producers that it WON'T, without any explanation. In "Suspicion," on the other hand, we have one major murder case where no motive for the premeditated brutal killing is ever established. This perpetrator isn't some maniac, but... I guess maybe they are, because the game never establishes ANY reason for why they did the horrible thing they did. It just... kinda happened. THESE are what I mean when I say there are big PLOT issues. On more than one occasion, it's just like "This shit happened for some reason. We either don't know or won't say why."

And I get that maybe my expectations/demands are just really high. There's a LOT that goes into high-quality writing, after all - you have to develop characters that are interesting, you have to have consistent characterization for them, you have to write dialogue that feels engaging, and you have to create coherent and intriguing plotting throughout. To its credit, Inescapable's writing absolutely succeeds in TWO of these things. But one of them, it fails in. And one of them? It doesn't even TRY to do.

I think you get the picture by now. I was ultimately let down by this latest attempt to recapture the magic of titles like Danganronpa, Zero Escape, etc. In the past two years, my favorite "Danganlike" attempt remains Yurukill — I still think about that one fondly and with surprising regularity. By comparison, Inescapable is a much longer/more complex game ... that I sadly have a markedly lower opinion of.

Both Yurukill and Inescapable ultimately end with a tease for a potential sequel. I would ABSOLUTELY play a Yurukill 2, but I feel like that's not looking too likely right now. Would I play an Inescapable 2, though? .... Eh. Maybe. If I was in the right mood or I heard/read something about it that sounded good, I may risk it.

[dokidokitsuna]

Working on Magical Friends: Doki’s animation “pipeline”

…Since this is still an incredibly basic 1.5-man operation, it’s not much of a pipeline. ^^; But I wanted to put together a little thing to show the public how I do what I do, and if this sounds doable or interesting to you, I’m always on the lookout for more volunteers! dokianimara@gmail.com is my official ‘art business’ email, just FYI~

So let’s start by taking a look at this GIF preview of a finished scene:

I chose this sequence because it’s probably the longest and most complex one I’ve done so far. The character rotates, the scene pans up, I got some spinny light effects in there, lots of weird stuff I’ve never done before. (●u●;;) But it came out alright in the end, so let’s examine it.

So before I start thinking about animating, I refer to the work of my storyboard volunteer, Greytan. They actually gave me just one simple shot:

Which I extrapolated into…what I did. ^^; I don’t mean to ‘ignore’ their boards, and I hope they don’t feel slighted when I do things like this, it’s just that they are genuinely a much more skilled and more professional animator than I am, and our brains just don’t work the same way so sometimes I have to diverge a bit. :P Or, y’know, sometimes I come up with a great idea of my own that I really wanna try, which is probably what happened here.

Anyway, my first step after looking at boards is to grab a pencil and paper and draw the shot: a picture that lays out what the scene will look like, with either the starting frame or a key frame, and the background included. As you can see, I doodled some of my ideas for how the sequence would progress, which is good, because after drawing this I wouldn’t return to this shot for like 6 weeks. ^^;

When I finally did get back to it, I grabbed a second piece of paper for Step 2, which is the actual ‘animation’: using the shot as a base to draw the rest of the frames that will go into the sequence. This is where my lightbox comes in handy, although usually I can see through the paper well enough to just draw wherever. ^^ [Fun fact: in my early days, I would just scan the original shot, erase it, and replace it with the next frame, drawing each new frame on the exact same piece of paper. I am…very glad I don’t do this anymore]

Now, animation is mostly guesswork for me. ^^ I mean, my guesses are pretty good, but they’re still guesses, which is why I call myself an amateur. It’s not me downplaying my skills, it’s just me admitting that they aren’t based on solid expertise or experience (yet).

When I animate a shot, I try to make sure each frame looks like it has movement in it all by itself. Gesture drawing, dynamic posing; those are things I’m already good at, so when I animate I make ‘em work hard for me. >:3c

The end result comes out looking kind of like a sprite sheet:

And I do use these drawings kind of like assets; Step 3 is to scan them (along with the initial shot) and use them to ‘construct’ the frames that go into the video editor. This is the step that takes the longest, where I clean up the sketches and color them and paint the backgrounds (separately, if necessary). It’s not as difficult as Steps 1 and 2, but it’s a lot more tedious.

So naturally, sometimes I like to make sure my sprites actually work before I start all that…work. ^^ So I throw together a test animation based on what I have:

And this did help-- it assured me that the first half with Mago would probably look fine, although the second half with the magic light-thing probably needed to have a cleaner sense of direction and more frantic movement as it ascended. When you’re working with a low frame-rate, you generally want things to move a LOT or hardly at all; you don’t want any of that in-between stuff. So I took that into account when preparing the “finished” product. I put “finished” in quotes because I’ll probably adjust the timing of the frames a little when I move to the video editor (Step 4, which I’m not going to talk about here). But yeah, that’s pretty much it. ^^

Generally when I think about adding artists to the team, I’m thinking about them doing Step 1, Step 2, Steps 1 and 2, or Steps 1-3 (so basically, completing a full sequence of frames that I can just add in). For me to hand sketches to someone and expect them to do Step 3 alone would require a level of trust that I’ve never had in any fellow artist before…but idk, anything can happen in the future. ^^;

[sparkagrace]

Hii!!! First, I just wanted to say that you are one of my favorite steve/bucky fic authors, like, I've read religiously each one of your fics since lane lines was a wip🥹💕.

Please don't feel pressured at all to answer if you don't have time, but I was wondering if you could give some tips on how to outline a story for a fic, especially long ones, and how to easily remember facts/things that already happened/don't mix information... about characters throughout long fics.

I've never posted any fic but I've been writing drafts here and there and I have a few ideas for longer fics. And lately I've been feeling hopeful about putting in the work and maybe write something decent out of those ideas? But honestly writing a long fic intimidates me a lot. Sometimes when I try to outline some small plotline, my mind just diverges in so many different scenes that I either end up avoiding the main plot, or just turn a short one shot into something longer that I feel has a lot of unnecessary or irrelevant information in it (I also blame this on wanting to know and imagining every single thing about the lives of the steve and bucky of each story)😭

I don't know if I explained myself at all or not 🫠

So, (and again, only answer if you have time for this and want to) if you have any helpful advice or tips for this problem, I'd be really really thankful for them🥹

Hiiiiii! Thanks so much for the kind words. I'm so glad to hear you're looking into writing your own fics! That's super exciting 🥰

Long fics are definitely a big undertaking and can feel daunting; I absolutely understand how it feels. Writing any type of fic is such a process and there will be times (no matter the length) where you might feel like it's too hard to go on, but keep going.

I can't speak for everyone but I know for me, personally, I'm hardly ever going to write a fic I'm ready to post within a few hours. I tend to be someone who needs to sit with the idea and then chip away at it, with occasional larger bursts of creativity, and then an editing process.

That said, here are my tips for outlining long fics in particular and keeping all of the information together:

Every single one of my fics has an outline mostly so I can write down the major story beats that I want it to have. Sometimes I won't have every single part of the fic figured out yet, but usually it's a scene or general concept that I'm brewing (e.g. the 2IM final is what I came up with first for lane lines).

Write down ALL your ideas for the fic in bullet form, including headcanons and histories in the verse. You'll learn how to weed out the parts that don't fit. Sometimes it happens right away, other times you're scrapping half the scene. It's better to have it down than to try and remember it later down the line. Just remember that unless it's going to be a long epic, you'll probably cut most of it out. It's really just throwing ideas at a wall and seeing what sticks and what feels useful and important to the story.

For me, personally, I tend to write the story as if it'll be a long one-shot first. This helps me not get stuck on what should be in each chapter (if it's in a single pov). Once I have the outline fully written out, I'll start seeing where I want chapters to form and then start splitting it up.

With many of my long fics, I have a document I keep that is just the basic outline and all the information I want about the characters (i.e. ages, jobs, background info) that I can refer to. For example, lane lines had a lot of technical stuff I needed to remember so I had a document that was just the results of each race, the schedule for each day of the Olympics and what each character swam (see example below).

I'm not sure how you write, but I am a non-linear writer, which means that I write scenes in any order and then fill out the rest. This might not work for everyone! I still have struggles, but I can't work linearly. I find that doing it this way helps me find which parts of the outline work for me/the story I want to tell.

In all, I tend to have about 2-3 docs that I use to help me as I write: a basic outline, a fully fleshed outline/chapter breakdown, and a working document of the fic.

Writing is a process and you'll find what works for you! I'm definitely someone who writes out in depth outlines and yet a lot of the story develops as I write. Don't be afraid to divert from the outline if you feel the story naturally bends; it's a constantly changing idea that is yours, and you're the only one to tell it!

I hope that this was somewhat helpful! I hope that you have a great time writing and please let me know how you get on! If you have any more questions, don't be afraid to ask 💖

[fakeosirian]

house of anubis drinking game (playtested for safety and enjoyment)

i can't drink for the forseeable future (just adhd meds things) but i made an excellent drinking game for each season of hoa a couple years ago SO! i decided fuck it i will pass it on here on the off chance that others would enjoy it in my stead:

IMPORTANT NOTE: this was playtested multiple times over (alone and with friends), both with blocks of a good few episodes in succession and a few episodes selected from a random number generator. it is intended for beer/drinks of similar ABV and should also be safe with wine if you take smaller sips, but is NOT RECOMMENDED for drinks of straight liquor or primarily consisting of liquor*. you know your limits better than i do, but consider yourself warned. swap in water as needed!

*may be safe for mixed drinks that have been sufficiently watered down (like seriously, increase that fluid volume)

and for what it's worth, like any good drinking game, there's still fun to be had without alcohol! i've done that before while playtesting (mostly to compare seasons and make sure one wasn't considerably more difficult than another) and still enjoyed myself, but i'm also a freak who derives a LOT of enjoyment from categorization and pattern-recognition, so. ymmv?

without further ado...

SEASON ONE

take a sip when...

there's a dangling shot-reverse-shot cliffhanger going into the commercial break

something weird is going on in the background of a shot (up to your discretion -- i count funny reactions, characters not the focus of the scene screwing around, sufficiently weird production design details. that sort of thing)

pin drop :)

someone steals something from faculty/staff

iconic patricia line ("WHERE'S JOY"/"I WANT HER HOME NUMBER" things of that nature)

someone lies Very Badly

take two sips when...

nina has A Moment

fabian looks like he's going to freak the fuck out

someone says a ship name out loud

mara makes someone's life much harder than it was before

patricia attempts or successfully commits a crime (assault, theft, etc.)

finish your drink when...

someone drinks The Piss (elixir)

someone gets kidnapped

SEASON TWO

take a sip when...

there's a dangling shot-reverse-shot cliffhanger going into the commercial break

something weird is going on in the background of a shot

pin drop :)

someone steals something from faculty/staff OR (NEW ADDITION) faculty/staff do some theft of their own

someone almost fucking dies

joy chooses violence

take two sips when...

nina has A Moment

fabian looks like he's going to freak the fuck out

someone says a ship name out loud

awful flirting and/or breakup tactics

"Gerbil"

finish your drink when...

a tunnel chamber's main puzzle is solved

someone actually fucking dies

SEASON THREE

take a sip when...

there's a dangling shot-reverse-shot cliffhanger going into the commercial break

something weird is going on in the background of a shot

pin drop :)

someone steals something from "Team Evil" or vice versa

patricia acts irrationally jealous

jerome simp moment

take two sips when...

KT makes a Face Of Some Sort

fabian tries to fight someone (or is otherwise uncharacteristically aggro)

denby looks...i have no word for it other than "horny"

oblique reference to a character who has since left the show

failed attempt at either sneaking into or getting someone out of the gatehouse

finish your drink when...

someone gets locked in the crypt

someone gets sinnered (ONE drink per episode this happens. do not die during the assembly.)

BONUS ROUND: TOUCHSTONE OF RA (THIS ONE IS A JOKE IT WOULD PROBABLY KILL YOU)

take a SHOT when...

a scene just fucking. ends. far sooner than you were expecting.

fabian/mara hateship moment

something mindbogglingly stupid happens (up to your discretion, but probably better to err on the side of caution)

if you have any adjustments, additional ideas, or rule changes, i would love to hear them! i've swapped things around and out a few times, so while these are what remained/what seemed to get an appropriate number of hits (for my relatively small frame) and were fun drink triggers for me, it's by no means a final or comprehensive list. i recommend picking things you usually look for or come up often enough to be notable, are memorable plot moments that happen a few times over, or are otherwise characteristic of the show/season in question without coming up too often.

if you're so inclined, let me know your tally for each category for an episode if you try it out! happy playing! :D

[planeoftheeclectic]

I'd love to know more about "palutena trap (kid icarus meets the parent trap)"

Ok so I just answered an ask about this with a bit about the inspiration and approach I'm taking to this fic so this one I'm going to list some of my favorite plot points in no particular order:

This is a "modern au" so everyone has normal jobs, such as:

Investigative journalist who lives on a houseboat

Mob boss

Lead singer for a punk band which is actually a front for an eco-terrorist group

Karate sensei

Drag racer

Ex-MI6 butler

California surfer bro

Dark Pit, given the option refers to himself exclusively as "The Dark Falcon of Vengeance" or similar because I couldn't stretch my suspension of disbelief enough to call him Dark or to give him a different name entirely (much as I love @stonemaskedtaliesin's Pip, it just doesn't fit in the context I'm going with)

Dark Pit's actual name in this is Pit Pairisetti, and Pit's name is Pit Pasupati. Dark Pit's name is a more alliterative romanization of Bairisetty, a Telugu surname which means something like "falcon," which I thought was appropriate. Pasupati is a Hindi surname which was mostly picked because I liked the way it sounded and wanted both of their surnames to start with the same letter, giving the camp counselors an excuse to call them Dark Pit and Light Pit instead of just using their last initials.

Pit is going to mostly accidentally steal a team of horses from Hades as part of an escape when he's doing something with the Forces of Nature as the analog to the canonical Lightning Chariot. It will be glorious.

There is a Sonic expy who will never appear on-screen who is Phosphora's greatest nemesis (and possibly ending scene implied love interest, depends on if I think of anything funnier)

The background ship is past Palutena/Medusa and I haven't yet decided how much reconciliation they will do. Less than in The Parent Trap, for sure, but maybe more than I originally planned.

Medusa and Dark Pit know all the sorry details about their breakup, but Palutena never explained it to Pit

Despite their incredible athletic skills, both Pits sink like a rock in water.

As you might have gathered from their names, I am making Palutena and Medusa Indian, specifically from Northern India and Southern India, respectively. This is mostly because I can and encouraged by the fact that there's a species of parakeets from India that have naturalized to Greece. I'm pretty sure they're the ones from the tumblr poem about unmannerly peas, which is one of my all time favorites, so even better.

They met in Hyderabad and decided to marry each other instead of waiting around for whatever arranged marriage their families had planned for them. This is also why neither of them can go home because they would literally rather die than hear their aunt sigh and go "this is why blah blah blah."

They won the houseboat from Poseidon in a poker game. Palutena played the cards, Medusa helped her cheat.

The divorce was really ugly. Like, dragged through all the tabloids levels of ugly. Pit doesn't know about it because all of his electronics have parental controls about that specifically. It ruined Medusa's PI firm, which is why she now works for the mob boss.

This is why Pit just knows about the bad things Medusa has done (there was a REASON the divorce was ugly and it was not all Palutena's fault) but Dark Pit knows about things that Palutena said about him, specifically.

The Pits spend some time at camp bonding in the counselors-only Jacuzzi, and possibly over a camp play. Can't decide how much Addams Family Values I want to throw in.

Hades has eaten human hearts before, but prefers Amazon River Dolphin. He says the stench of evil ruins the taste.

Despite all the plot I have planned out (this is going to be so much longer than TFP) I feel like I have so much less of it planned out than TFP (which, to be fair, is a murder mystery). It's always a big shift to jump from one to the other, and it's going to be even more of a shift once I finish TFP and start editing and posting in earnest, but I'm looking forward to trying a different style of editing when I get there!

[deltaruminations]

The Man in the Motif: A Character Analysis of W.D. Gaster via Music

“Sing us a song, you’re the mystery man… sing us a song if you please… ‘cause we’re all in the mood for a broken chord, and you’ve got us feeling unease…”

here’s the Big Dumb Music Post lmao

A couple things:

Most of what comes after the cut is written like an actual essay and not a shitpost i promise

This is more Synthesis and Subjective Reading of Extant Material than speculative theorycraft

I mostly wrote this for fun & because I’d never seen anyone lay out an analysis for our boy G like this before. I don’t think it’s like Revolutionary it’s mostly just me talking a lot about a special interest lol

I get the sense that a lot of people may have already picked up on a lot of this stuff and it might just be my alexithymic ass that needs heady analysis like this to understand subtle emotional cues. That’s to say: IDK how much New Stuff is being presented here for any given reader but it might still add value to that existing understanding I Guess

I’m not trying to assert that Toby Fox consciously intended to convey everything that I’m pulling out of this stuff lol

OK HERE WE GO!!!!!

Contents

To quickly access a given section, just search for it by its leading flag ([#XXX])

[#001] mus_st_him.ogg (Gaster’s Theme)

[#002] ANOTHER HIM

[#002-A] A Brief Tangent on Giygas

[#003] File Select & Game Over ambience

[#004] Darkness Falls

[#005] man.ogg (Tree Room)

[#005-A] A Brief Tangent on Seccom Masada-sensei

[#006] Takeaways

Undertale and Deltarune use leitmotif to a wide variety of ends in shaping players’ experience of their stories. Because music is understood emotionally and interpretively, a single song can function to convey several simultaneous ideas about characters, places, and/or themes, and may be understood to have multiple layers of meaning.

Gaster’s leitmotif in particular is notorious for its tendency to be heard by fans everywhere in Undertale and Deltarune’s soundtracks, regardless of the actual intentionality of its use. Due to the brief and generic nature of the sequence, there’s a distinct possibility that this ambiguity was engineered into it, possibly as a way to influence players’ perceptions by implying that he’s secretly ever-present and ever-watching, and/or to convey something about Gaster himself, such as dispersion of his consciousness or memories.

Aside from the previous point, there are a few instances in Deltarune’s soundtrack in which its use is either explicit or, at the very least, somewhat less ambiguous. This discussion will focus on the former cases, specifically tracks that play in the scenes in which we interact with the man himself. I’ll cover this in roughly the order that I believe a typical player would experience them for the first time.

Most of these sections will be Very Roughly divided into:

Informal analysis (I Do Not Know Music Theory I Am Just A Guy With Abled Ears) of choices made in the song itself

Subjective analysis of what emotions or associations the song might be evoking

Interpretation of what any of that could mean about Gaster Our Good Friend Gaster

Discussion of in-game context wherever I think it's interesting lol

Because my formal knowledge on music composition is very limited, and also because I’m no longer hearing these songs fresh and untainted by Lore Obsession Disease, I had my partner (a musician who knows nothing about UTDR or this character) give his opinions on these songs as well. While I don’t think a formal background is a prerequisite for this kind of subjective analysis (as these soundtracks are designed to communicate with a broad audience, not just with musicians), it of course allows for further insight. I’ll refer to him from here on as my “research assistant” because I think it’s funny.

I first had him listen to the tracks listed here out-of-context and give me his thoughts on what they communicated to him about the character or scene. I then gave him some context for each song, the story, and the character, and we discussed whether that context brought further interpretation. It turned out his basic interpretations closely aligned with mine, with the addition of some really cool observations that would’ve never occurred to me on my own. This discussion will reflect his opinions & observations as well. Huge thanks to him!

With that in mind, I’m going to use the word “melody” and other such Music Words pretty loosely throughout this sorry. I tried my best to respect the Terminology but im just a fucking dude ok

[#001] mus_st_him.ogg (Gaster’s Theme)

We must, of course, begin with mus_st_him.ogg (Gaster’s Theme), which establishes his leitmotif (or at least, the only confirmed part of it; whether or not there’s a B part to the leitmotif is currently unknown, though I‘ve seen some interesting speculation about that). Assuming that Deltarune players experienced Undertale first (as Toby Fox seems to have intended), this will have been the first instance of Gaster’s leitmotif ever encountered, and it’s the front line for evaluating his character.

Found only through a Fun event, in Undertale’s “Sound Test” room, this is presented as less of a song and more of a demo or reference sequence. As we move on to other tracks, I’ll consider this track the platonic ideal and use it as a point of comparison.

One brief note is that the filename itself does not explicitly assign this track to Gaster, but rather to “him.” It’s the Sound Test UI that puts his name on it. Whether or not there’s significance to this is currently unclear.

(I think there may be something in common between the friendly “voice” that thanks us for our feedback in the Sound Test room and Deltarune’s out-of-universe UI text after closing the fountain in Deltarune chapter 1, but I don’t have any idea what, if anything, that means right now.)

Precedents established

Since this is the base motif, I think it’s worthwhile to mention how the song is structured on paper. Since I’m no Theory Guy, I’ll refer you to Tumblr user notesanddreams’s technical analysis of what he calls the “Gaster Sequence,” which is a name I like a lot and am going to use moving forward.

To quote him:

It’s a pretty simple four bar loop. The melody, which everyone I know has taken to calling “the Gaster motif,” is a four note sequence that goes “starting note -> up a minor second (half step) -> up a perfect fifth -> back down a perfect fifth.” This is played four times before modulating down a half step and looping….

There’s simply not enough musical information in the track to discern a tonal center, and therefore any attempts to give it a key signature are futile. This gives the sequence a very mysterious and unsettling nature, but its vagueness allows it to be applied to certain tracks in the Deltarune OST very subtly at times.

While it’s distorted, this song seems to be played on an unaccompanied piano. This establishes an association between Gaster and that instrumentation (as we’ll see reinforced later), as well as with sounds of distortion & modulation, dissonance, and “noise.”

These two factors combined may be things to consider alongside the leitmotif when determining whether a song or part of a song should be considered to offer direct descriptions of Gaster (as opposed to containing a more abstract reference to him, or instead being referential to or descriptive of another character associated with piano, such as Kris).

Emotional perspective

Gaster’s Theme is anxiety-inducing. It builds up endlessly but never resolves. It is not musical; it lacks anything recognizable as motion or melody, which in turn causes it to lack anything immediately recognizable as personality, or emotion, or backstory. It’s a song that betrays no motivations or values, leaving us to fill in the blanks on our own.

The minor key and dissonance could easily be experienced as sinister, playing on our fear and mistrust of the unknown. If the truth is out there, it doesn’t seem to be pleasant. If we continue to seek it out, who knows what could become of us, or what we could unleash upon the world?

The Sound Test UI itself is bizarre and mysterious. Why does it thank us for our “feedback” after hearing Gaster’s Theme? What input or feedback did we provide?

Characterization perspective

We could take this theme on its own to suggest that Gaster is characterized by duality, tension, and emotional detachment and/or reservation.

The rising tones in each bar evoke thought and ideation, approaching a point before dropping down to approach another. The endless, moderately-paced loop of shifting, yet internally consistent, sets resembles a careful dialectic that never reaches resolution.

We could interpret this as the sound of an analytical mind aware of many options and possibilities, but never ultimately delineating the truth between them (my research assistant specifically described this track as being “locked into itself”). We could also take it less literally to signify a reversal of opinion or understanding in general – not necessarily that decisions are never made, but they’re reached through heady deliberation and obsessively re-examined after they’re made.

While the motif betrays internal tension, it’s also highly ordered and consistent, lacking any spontaneity. This can be taken to mean that Gaster is cautious, deliberate, and reserved. For all the neurosis it conveys, it still comes off as fairly confident, as though Gaster is simply used to this and doesn’t tend to question it.

We could also possibly infer that other characters experienced Gaster in much the same way as we do – they may have found him unsettling and hard to read. 

As mentioned before, it’s unknown whether other parts to this motif exist or are planned to exist. If they do exist, then the fact that only the A(?) part has been presented as “Gaster’s Theme” would underscore the one-sidedness of his presentation in Undertale, as well as a possible tendency of Gaster’s to hide parts of himself.

(EXTREMELY speculative, so please don’t take this too seriously, but: I’ve seen at least a handful of fans raise the possibility that at least some part of the Secret Boss (“Freedom”) motif may be a B/C part of Gaster’s motif. If Gaster is trying to obfuscate any involvement with Secret Boss characters, using his metaphysical resources to hide obvious musical associations with them (i.e., by labeling only this part of the motif as his “theme” in the Sound Test) would certainly be a clever way to do so.)

[#002] ANOTHER HIM

The first true application of the Gaster Sequence a player will experience is also the very first song heard in Deltarune: ANOTHER HIM, which plays during the Introduction (also known as the Survey or “GONERMAKER”).

This is another instance of Gaster being referred to as “him” in the metadata rather than by name. The specific phrasing of “ANOTHER HIM” seems referential to Undertale Players’ knowledge of him, and could be taken to suggest that this is a separate instance or at least “piece” of the character described in that game. Alternatively, this could indicate the same character being presented from another perspective, and/or the same continuity of that character who’s no longer recognizable as the same person for one reason or another.

Musical analysis

This track is, of course, a direct quote of the entire Gaster Sequence isolated from any other motifs. Its main developments are a slight modification to the rhythm of the Sequence and the addition of other instruments and background ambience – this is actually the only song in the scope of this document in which the motif itself is heard accompanied (while Darkness Falls also contains other instrumentation, it occurs during an instance of a different motif). We again hear the Sequence played on piano.

When my research assistant first heard this song without context he paused it after about 5 seconds and proceeded to tell me all about Paul stretching and how it can be used to create the type of ethereal ambience heard in this track. One thing he noted is that this algorithm allows for stretching a sample while keeping it in-key, without adding dissonance. I should be clear that I have no idea if this exact technique was used here, only that it seems to have achieved a very similar effect.

So, what is the sample being stretched (in some way or another) to create that ambient noise? When we reversed the stretch, we found it to be none other than one of Giygas’s instruments from EarthBound. This has been identified by other fans as a sample of the track Giygas’s Intimidation.

[#001-A] A Brief Tangent on Giygas

I want to be careful about suggesting too much from musical samples & references, since UTDR are known to make extensive use of samples and soundfonts from other works, especially from EarthBound (as well as reworked versions of Toby Fox’s own music from other projects). Like, I don’t think Toby was trying to Say Anything in particular when he used the “WOW!” from Earthbound’s intro sequence in Spamton’s battle themes except “EarthBound is very special to me and that sound design choice they made was really memorable and I think it sounds really fun here.”

That in mind, UTDR fans have been intuitively connecting Gaster and Giygas for years based on superficial similarities and the known influence of EarthBound alone. Given Gaster’s unique existence in metanarrative, the specificity and consistency of the references associated with him, as well as the potential thematic relevance of this reference (and the one to follow in section [#005-A]), I do think it may be fair game to consider them in these cases. I’m going to throw out a couple of things:

The use of samples from Earthbound, specifically ones related to Giygas, draws yet another thematic connection between Gaster and Undertale’s True Lab and possible parallels to Alphys, suggesting this connection is relevant to Deltarune. Memoryhead itself bears resemblance to Giygas. (also wait what there’s parallel harmony in Amalgam?? holy shit???)

Giygas is a character who, when encountered in Earthbound, has been driven to a state of eldritch, cosmic horror by trauma & grief. His backstory as Giegue, told in the previous game Mother, includes themes of pursuing knowledge despite knowing of the dangers, of betrayal, and of guilt over well-intentioned harm, specifically harm done while under some form of external influence. The Giygas of EarthBound, in his madness, exerts violent influence over animals and people, including Porky, a troubled child who Giygas compels to serve him.

Throughout the fight, Giygas expresses his internal conflict, lashing out seemingly not due to malice but rather uncontrolled emotion. Defeating Giygas requires first that the character Paula “Pray,” or call out for strength from the party’s families and the people they’ve helped along their journey, until there are no more characters left to reach; Paula’s “call” becomes unheard, “absorbed by the darkness.” Then, finally, she begs the player themself to “PRAY” for the party – the “kids” they’ve never met before – dealing the final necessary blows in the process.

Gaster & Giygas are both unpleasant sounding two-syllable G names LOL this is stupid sorry

Obviously, I don’t anticipate a 1:1 resemblance between Gaster’s and Giygas’s stories, but there could be thematic parallels worth considering. There is one thing, however, that I find interesting in the context of this song in particular: in inviting us to this “Survey,” Gaster seems to have called out to us in the same way that Paula did, praying to us for help – perhaps, more specifically, to help the kids of Deltarune who we have yet (at this point in the game) to meet.

Emotional perspective

ANOTHER HIM opens with a distorted ambience, evocative of murmuring, choral voice, rolling thunder, and perhaps the crackling whips of a Tesla coil. This ambience ebbs and flows in intensity, occasionally seeming to thrash and writhe. Just before the Sequence itself starts, and then throughout it, we hear what seem to be longing strings, and underlying the piano is a steady, understated percussion.

In contrast to the distorted fuzz of mus_st_him.ogg, the piano used here is crisp, with only a limited echo applied to it. While not unaccompanied, this piano still feels exposed and small, especially against the faint instrumentation and ambience churning below it. The high, bell-like keys feel bright and hopeful. At the same time, the slow, halting tempo suggests trepidation.

Where the base Sequence marches steadily through its dialectic without deviation or hesitation, ANOTHER HIM’s arrangement pauses at the height of each thought, as if considering it more carefully, before dropping back down to the next. After the first two sets switch off normally, the melody then proceeds to rise steadily, as though finally grasping at a revelation; after reaching an apex, it then pauses, collecting itself, before looping over again. Isolated from the ambience, this arrangement sounds contemplative and searching, in contrast to the neurotic dialogue of the base Sequence.

The backing ambience sounds ethereal and spacey, but not noticeably dissonant. It doesn’t necessarily lend the same eeriness of mus_st_him.ogg’s distortion, but the low, slow murmuring and even occasional lashing of the “voices” in the background still betray an undercurrent of unease & tension.

When my research assistant heard the songs mus_st_him.ogg, ANOTHER HIM, and Darkness Falls without context, in the order presented here, he read them as a developing narrative. He felt that this piece, compared to the base theme, added “motion” in the form of a steady rise and fall. He then said, “What I would want next, if this were one piece, is melody. I’m still waiting for that next part.” While it takes more time to breathe, ANOTHER HIM still never approaches resolution.

He also likened the emotional experience of this song to Gregorian or hymnal chanting – less so the literal style of music, but rather the use of reverberation in that musical form to create a full, choral sound from only a few individual voices.

Characterization perspective

The overwhelming sense I get from ANOTHER HIM is one of vulnerability, introspection, and dishevelment, as well as cautious deliberation. It also conveys a certain amount of hope and possibly curiosity, though these are muted in comparison to the hesitance and turmoil.

Compared to what we “see” of him in mus_st_him.ogg, Gaster seems to be far less self-assured in his dialectical thinking. He’s breaking from his traditional pattern of rumination and attempting to reach for some form of personal truth. The cautiousness could also be taken to convey unease or skepticism about the situation at hand, about the probability of success in achieving the “NEW FUTURE,” or even about the Player themself.

As far as the background ambience, its most obvious function is to convey the ethereality of incorporeal, out-of-universe existence, its ebbing and twisting reflecting the shapelessness of a disembodied consciousness. It could even be considered diegetic – as if it is the sound of his state of being, or of this strange, extraplanar space beyond the event horizon.

The ambience could also be taken to convey emotional information, though its separation from the “conscious thought” of the motif could imply many things (as we’ll discuss later in [#004], we have an example within the same chapter of the motif conveying quite a bit of emotionality in itself).

If we take this angle, then it could suggest that Gaster is not integrating emotionality with rational thought, but is at least possibly acknowledging that emotionality — or it’s built up to a point where it can no longer be fully contained or ignored. We could interpret the pauses in the motif as Gaster listening to or meditating on these “voices” – or becoming momentarily overwhelmed by them.

From this perspective, it’s clear that this emotional state is confusing and volatile; the dialogue happening on this level is not nearly as orderly or civil as that heard in the motif. The “lashing” sounds could be taken as flashes of pain; their violence could suggest bad memories, self-criticism, shame, or regret, among other possibilities.

I also think the choice of a percussive “heartbeat” is quite interesting. While not rapid, it could possibly suggest anxiety, as though his heart is pounding. It also suggests intimacy, which in turn requires a certain level of trust – he has allowed us close enough to hear that heartbeat at all, whether or not it’s comfortable for him, or he feels confident that it’s a good idea for him to do so.

Despite this piling on of confusion and unease, the relative clarity and brightness of the motif’s piano seems to twinkle faintly in the dark. This sense of hope gives us something to latch onto amidst the tumult, and that may be true of the character as well. We could read this as a hope that is worth enduring the doubt, the humbling, and the possibility of pain.

The song in context

ANOTHER HIM’s hesitation and vulnerability strikes an interesting contrast with Gaster’s dialogue throughout the Survey sequence. Aside from a very small number of seemingly spontaneous reactions, Gaster in his dialogue – in his intended self-presentation – comes off as unfailingly polite, professional, confident, and generally neutral.

While we needn’t assume that this self-presentation, or the opinions he does express, are insincere, we can still infer that whatever the reality is of his internal state, Gaster is making a concerted effort to keep that information hidden from us. There are obvious practical reasons for this: to maintain the integrity of his study, he needs to minimize his biasing of our behavior.

That said, we could certainly read personal factors into this as well. From Gaster’s POV, the Player possesses a tremendous amount of metaphysical knowledge and ability. Whether or not he has difficulties with trust in general, Gaster certainly has reasons to be very wary of us, something I’ll discuss further in the next section.

The content of the sequence itself (text, background, etc.) warrants its own analysis. I’ll probably do one at like, idk some point probably

[#003] File Select (& Game Over) ambience

While it doesn’t really constitute a “song,” I think it’s worthwhile to look briefly at the sound design in the File Select and Game Over UIs, since they’re still among the very few instances of “face-to-face” interaction we have with the man of the hour. Note that this doesn’t include Darkness Falls, which plays after a certain choice is made at a game over – the next section will discuss that. Because this section covers sound design choices moreso than musical ones, I’ll eschew the format of the other sections and simply analyze these choices in-context.

This is the one section of audio I didn’t review with my research assistant, so you’re just getting my unmoderated opinions here, unfortunately.

For the better part of the game (so far), the File Select screen generally looks and feels the way a Player would expect from an RPG UI, with illustrations, friendly help text, and narrative music:

Post-completion Chapter 1 File Select (Before the Story)

Chapter 2 File Select (Faint Glow)

Similarly, the chapter 2 (or, rather, the post-ch1-completion) Game Over screen displays a genre-appropriate graphic, includes a message of encouragement (or, perhaps more accurately, a plea for Kris to survive) from Kris’s party members, and plays the song Faint Courage.

These File Select & Game Over screens are potentially extremely lore-rich in and of themselves (some of this will come up in the next section), but with regard to this particular discussion, I’m mostly interested in the stark contrast they present when compared to the pre-completion Chapter 1 screens.

Before chapter 1’s completion, when Gaster is strongly implied to be narrating (and possibly facilitating) the Player’s SAVE data manipulation and game over choices, the soundtrack for both screens is profoundly barren.

There’s no “song,” no melody, only an identical low, looping drone for both screens. We know that there can be music here, even very emotional music, and we feel like there probably should be. And yet, there isn’t. This makes these screens feel empty, ominous, and cold, underscoring their dark, ascetic visuals.

I think the fact that so little is being said here is in itself very, very interesting. We know that we aren’t actually alone on these screens; our friendly facilitator is here with us. We also know from the other examples in this document that Deltarune’s Gaster is not inherently associated with a lack of music, nor (as we’ll see in the next song) a lack of emotion in melody. Why is it only in this particular context – when the Player approaches these existential crossroads – that the music disappears entirely?

The File Select screen on its own doesn’t give us a whole lot to work with. While the dialogue here is certainly unsettling (even compared to Gaster’s clinical speech in other scenes) and warrants its own discussion, it still isn’t entirely clear why file manipulation should sound like this.

In the Game Over screen, however, we can start to make inferences. Game Overs are when Gaster’s plans are at the most risk – they’re when a Player is most likely to opt out of the study and never return, leaving Deltarune’s future as-is and any hope of a “NEW FUTURE” unfulfilled.

With that in mind, I think this drone conveys emotional shutdown. Gaster is still there – the drone is his presence, as though he’s trying to keep his breathing slow and measured as he speaks with us – but whatever is happening with him internally, he’s either working hard enough to succeed in hiding it from us, or it’s so overwhelming that he himself can’t even acknowledge it.

What that internal experience could be is anyone’s guess. Personally, I think he’s deeply afraid.

When Gaster seems to panic upon seeing his own name in the Survey, he can simply exit the situation and prevent the Player from making that choice. He can’t, however, prevent us from exiting the game – whether or not he had the power to do so (and he of course doesn’t), doing so would be meddling in the experiment, it’d be a breach of participant consent, and it’d potentially undermine whatever uneasy trust the Player has developed with him. In these moments, he’s entirely at the Player’s mercy.

(Note: this last video shows the game exiting after the creator is named “GASTER.” As of Chapter 2’s release, naming either vessel or creator “GASTER” causes the game to return to the chapter select, rather than exiting.)

Since the same drone plays on the File Select screen, we can infer he’s shut down there as well. It still isn’t as clear what about SAVE manipulation would cause such a strong response, and there are many ways this could be interpreted. It’s worth noting that we don’t currently know whether Gaster is the one executing those actions, or if he’s simply giving us guidance and warnings as we execute them ourselves. More broadly, we don’t know whether Gaster is capable of executing these actions at all.

For right now, my best guess – and I want to be clear that I don’t feel confident this is correct – is that SAVE manipulation is the first obvious indication to both us and to Gaster that he’s willing to accept some amount of “necessary evil” in pursuit of his plans. Based on the seemingly unprecedented gravity of his tone and diction on this screen (especially around erasing SAVEs), this may be when Gaster first recognizes, fully, just how much power he’s entrusted to a Player, how irresponsible it may have been for him to do so, and he is again deeply afraid – this time, not just of us, but of himself.

[#004] Darkness Falls

(This is the song I wrote that post about, that a lot of people seemed to like, which was very cool! But also it was meant more as a throwaway vent post than an actual analysis and was worded kind of strongly/reductively in part because I didn’t expect anyone to actually see it lol. anyway this will reiterate a lot of those thoughts but with A LOT more detail and nuance, possibly more than is necessary lol)

(Quick kudos again to the user who pointed out details about Faint Courage and its relationship to Kris on the Post People Liked. I hadn’t even begun to think through that part of the song when I made the post. It helped a lot with this!)

(Wait one more note: I’d previously thought this sequence only happened in pre-completion Chapter 1, when Gaster was actively present in the UI, but apparently this still happens as of Chapter 2?? The guy just crawls out of the woodwork specifically to narrate our ending and see us off I Guess. I do not have any particularly strong opinions at the moment about what this could Mean because I don’t generally have strong opinions about why he disappeared in the first place except IDK We Got The Hang Of The Game So He Switched On The Normal UI And Now He’s Just Observing Quietly And Taking Notes And Also Waving From Cars And Egg I GUess but anyway I thought I’d point it out because I got it wrong before)

(Oh btw if God kills you it just bypasses the normal screens entirely and returns you to a checkpoint. this detail doesnt mean anything it was obviously implemented for mechanical/joke reasons I just think it’s funny. like even Gaster is just sitting there like ?????? WHAT THE FUCK WAS THAT. sorry moving on now)

Darkness Falls is only heard after saying “No” at a Game Over. As previously discussed, Game Overs in chapter 1 (pre-completion) feature the Emotional Shutdown Drone™, while post-ch1-completion Game Overs feature the song Faint Courage. Upon refusing to continue, whatever audio is present cuts out entirely, leaving complete silence as Gaster narrates our ending. Immediately after that text cuts out, Darkness Falls begins to play.

While a Player could encounter this before the File Select or after seeing the Tree Room, it felt most logical to me to order it like this for Reasons. Based on both my own experience and that of some other people who responded to the Post People Liked, it seems like a lot of Players, even ones who know about the Tree Rooms, just end up never saying “No” and seeing it at all.

This is the only track in this document’s scope in which the Gaster Sequence occurs alongside another leitmotif: the one found in Faint Courage, the song played in the aforementioned post-ch1-completion Game Over screen (I’ll simply refer to this second motif as Faint Courage from here on).

For the sake of this analysis, I’m only considering the Gaster Sequence part of the song (roughly 0:00 - 0:33) to be directly descriptive of the man himself, as we have good reasons to believe the second motif is specifically saying something about Kris. That’s to say: any character traits being suggested by Faint Courage will be assumed to describe Kris, not Gaster.

However, I’ll still discuss the song as a whole where it makes sense to do so, including consideration of what it could be saying about Gaster’s perspective on Kris, on the moment in which it’s found, or on the broader narrative.

Musical analysis

In an unusual break from precedent, the Gaster Sequence isn’t hidden by or within the other leitmotif featured in this track. Instead, we hear an unaccompanied piano arrangement of the Sequence that then leads into Faint Courage, played on the same piano but now accompanied, and with more instruments gradually added. Each motif takes up roughly half the song’s length, though the latter is slightly longer.

Much like the piano heard in ANOTHER HIM, the keys played during the Sequence have a moderate reverberation applied to them, but are otherwise fairly clear & crisp. Notably, this reverberation still continues after the shift into Faint Courage, as if the previous motif has shifted into a background, supporting role for the next one.

The arrangement of the Gaster Sequence heard here deviates the most by far from the original mold, to the degree that it’d be easy to miss it as an instance of that theme at all. Viewed side by side, the difference is stark. Someone who actually Knows Theory could probably describe it more eloquently than I can, but I’ll do my best to fumble through this with my untrained ear and the input of my research assistant.

This arrangement of the Sequence doesn’t do away with the back-and-forth of the base theme, but the dialogue heard here begs, grasps, and searches, seeming to have no pretense of self-assuredness or strict, rational confidence. It seems more grounded in the fact that this internal conversation really has only one, contiguous “speaker,” as each even-numbered set of bars picks up directly from the set before it, rather than there being a sharp drop between them.

The “speaker’s” opening comment, which begins on a chord, rises like a choking cry or plea, before they seem to attempt rationalization. Unable to answer in kind, searching for something to say but having nothing to meaningfully offer, they volley back on a higher note, as though presenting themself another question. The “speaker” then repeats the same sorrowful, confused entreaty from before – but this time, they continue from that cry to reach toward something, pause as though approaching rest, and then decide there’s something more to say – something entirely different.

Referring back to the “narrative development” reading proposed by my research assistant (first brought up in section [#002]): when my assistant first heard this song without context, he almost immediately stopped the track and said “that, right there, is melody!” He described the addition of a tonal center as making the difference between “color” and “meaning” – ANOTHER HIM adds interest to the base Sequence, but it’s still difficult to find an emotional foothold in it. It’s difficult to parse. Darkness Falls, on the other hand, has obvious musicality. It’s immediately relatable. It’s generally pleasant.

He spent some time discussing the chords found in this arrangement of the Sequence, describing the very deliberate placement of these chords as being its own melodic line of sorts, “going through its own motion, its own process.” He described the pattern as being roughly “harmony, then dissonance, then a stretch of time, then dissonance.” He noted that the one tonic he could identify in this Sequence was just before the turn into Faint Courage.

With this in mind, we could say that the instance of the Sequence heard in Darkness Falls, in contrast to that heard in every other song covered in this document, reaches its own internal resolution. That tonic, leading into the turn, could be read as a choice finally being made.

My research assistant also pulled out a “hero’s journey” narrative from this song. The first half, the Gaster Sequence, continues its push and pull of dialogue and tension, establishing the sense of a problem needing to be solved; while the second half, Faint Courage, approaches that problem with playful curiosity, possibility, and hope, before developing into a heroism heralded by nostalgic, Zelda-like synths, and ending on a literal high note. He noted that this type of narrative is common in ending themes for games, serving as a reflection of the story just completed.

Emotional perspective

The immediate motivator for me to write the Post People Liked was because I’d pulled up Darkness Falls on YouTube (for this analysis lol) and among the video’s top comments was someone saying, more or less, “Boy! It sure is weird that Gaster’s Theme shows up so obviously in this beautiful, moving song!” This was one among many, many comments I’d seen over time across various platforms expressing the same thought.

This confusion is perfectly understandable. As I’ve expressed in several ways in this document and elsewhere, the idea of the Gaster Sequence being arranged in a way that is, in itself, obviously moving – immediately, viscerally moving without any need for the kind of reaching overanalysis I’m doing here – is wholly unprecedented in either Undertale or Deltarune. As I mentioned in the Post People Liked, we’ve been conditioned to view Gaster as anything but another character, and that may be its own form of characterization. And, like I said before, the degree of deviation heard here is so great that many players will likely miss it entirely if they aren’t paying attention or don’t know what to listen for.

That said, it’s very obvious that this arrangement of the motif sounds distinctly loose and emotional. The first half is sorrowful, but its internal development also conveys curiosity and open-heartedness. The heroism of the second half conveys a distinct sense of hope, or at least, satisfaction.

I think it’s worth noting here that, when I initially showed my research assistant the scene in which this song is found, after he’d previously heard the song out of context, his immediate impression was that it felt ironic and mocking, as though the game – maybe even Gaster himself – was deriding the Player for not persisting further. I think this impression makes sense. It’s one that I’ve experienced myself, and based on comments I’ve seen, it certainly seems to be the impression many Players walk away from the first two chapters with.

After a little more discussion, specifically after I presented the idea of Deltarune’s One Ending, and the idea that this ending is likely the “default” ending – the one Gaster knows will happen and seems to be hoping to change – my research assistant felt the song conveyed sincere acceptance. In his words: “whatever ending the player gets, it was heroic that they even tried.”

Characterization perspective

In reference to the idea of this ending theme being ironic or cynical, I think there’s something to be said for the possibility that Gaster’s habitual masking and/or intrinsic propensity for interpersonal oddness leads to others disregarding his sincerity or misinterpreting it as malice. We could argue that this is a trait indicated in a number of other ways beyond this song.

The reverberation of the keys during the Sequence of course recalls the ethereality of Gaster’s extraplanar existence. The fact that the reverberation continues into Faint Courage, combined with the placement of the tonic just before the shift, could be taken to represent a decision by Gaster to take a background role in Kris’s narrative.

Something interesting to consider from that: if the choice was made to take a background role, then what other options were being weighed in the previous dialectics? Does this imply that Gaster has considered more active roles in the past? (Could it be the case that he’s previously taken them, and the outcomes of those past decisions have influenced this latest choice? Is passivity really the best choice he could make here, or is he actually just transferring responsibility? Does he simply not trust himself to do the right thing if given the chance? Sorry this is getting really speculative LOL moving on)

As a number of users mentioned, the inclusion of Faint Courage could be an indication that Gaster is not only mourning the potential loss of the Player and with them, the “NEW FUTURE,” but the potential permanence of Kris’s death in particular. This reading suggests that Gaster feels a great deal of tenderness toward Kris themself; given what we’ve seen of Gaster thus far in this document, it wouldn’t be hard to infer reasons for why he might be especially fond of a misfit kid with self-esteem issues and interpersonal difficulties. (Assuming, of course, that these troubles aren’t directly related to their situation with the Player. Personally, I like to think that the more troubled aspects of Kris’s character are, for the most part, just as true to their real personality as their more “acceptable” or likable aspects are – attributing too much of their struggle to outside influences feels like an undermining of their agency. But I do feel it’s still worthwhile to acknowledge other possibilities, or at least the potential nuance they offer.)

The relationship between Gaster and Kris is absolutely something that warrants further examination as the story continues. While this song (and to a certain degree, the next one) seem to suggest a fair amount of good intent and even tenderness on the part of Gaster toward Kris, there’s certainly still room for complexity and tension on Kris’s part.

The song in context

In a typical game, we’d expect to be returned to a title screen or menu right after choosing not to continue. Deltarune instead gives us Gaster’s narration, then leaves us on a black screen for the roughly one-minute duration of Darkness Falls, before it closes the game window on its own. That begs the question of why the game lingers here on this song in the way it does.

In a metanarrative sense, I think there’s validity to the idea that this choice was made to reinforce that we reached “an end” – not just a game over, but the “default” ending or One Ending to the game, in which the world is covered in darkness. As mentioned before, Darkness Falls sounds to a degree like an end credits song. The game closes because that’s what typically happens after the end – we leave the game.

As far as narrative or character interpretation goes, we do know that (pre-ch1-completion, at least) Gaster is our facilitator out-of-universe in Deltarune from its start to its finish. We have reason to believe that he has control over the screens we’re on (given that he can exit us back to title). We can infer that he would be the one to redirect us to the menu.

We have no reason to think that, just because Gaster’s narration has left the screen, he’s suddenly ceased to be present when Darkness Falls plays. The fact that it starts with his Sequence seems to imply his continued presence. We can infer that he’s the one keeping us here through the song, and the one who finally closes the game.

Maybe he keeps us here because he feels he owes us our ending song – and maybe this song is an expression of what he’s thinking and feeling in that moment.

To reiterate my reading from the Post People Liked: Gaster describes our ending, and then he has nothing left to say. We said “no,” and he can’t violate our consent as participants, but he can’t bear to let us go just yet. His “NEW FUTURE” is in the balance, Kris’s life is in the balance, and on top of that, we can’t deny that the man is probably just lonely.

So, we’re left alone in the dark with him, and for the first time, we “see” him entirely exposed – no confident, clinical dialogue, no choices to make, no spr_mysteryman, no True Lab fog or trees for him to hide behind. We sit there with him as he works quietly through the situation – perhaps even entreating us to come back and try again later – and when Darkness Falls ends, when he finally reaches some form of acceptance, he decides he can’t keep us there any longer, and closes the game.

[#005] man.ogg (Tree Room)

man.ogg is the track that plays in the secret Tree Room, and is notably not found on the original Deltarune OSTs thus far. While a first-time player could technically experience this track before the previous two discussed, most players going in blind won’t learn about the secret room until after their first playthrough, or potentially until chapter 2.

I know there’s some debate in the fanbase over whether or not Gaster is the unseen (at least to the Player) man encountered in the Tree Room and elsewhere. Aside from the arguable use of his motif in this song, which I’ll get to in a moment, I think there are other context clues indicating that he’s intended to be representative of Gaster in some way:

Gaster, in particular, seems to never be referred to by name except when being referred to by the “followers” or the Sound Test UI. The reasons for this could be metanarrative (to maintain the mystery around him) or narrative (to indicate that Gaster has distanced himself from his name, for whatever reason).

Precedent from Undertale associates Gaster with the word “man,” specifically unmodified instances.

Aside from spr_mysteryman and the possible relevance of Memoryhead and its attacks, UTDR never represent Gaster as a sprite visible to players. After all, as far as we’re aware, he no longer has a physical form for us to see. The fact that Deltarune’s Man is always hidden from our view feels like a clear nod to this.

Musical analysis

man.ogg is a brief, unaccompanied piano piece, seemingly a waltz (fan-arranged sheet music for reference – I’m a big fan of the tone descriptor “surreptitious yet jocular”).

While it’s subtle, it can arguably be read as a variation of the Gaster Sequence. Gaster Theme Everywhere Skeptic Matthew Sandstrom describes this variation as a “Garbled Gaster”:

The melody and rhythm are somewhat garbled, but the right notes are there, even if the order is wrong.

He identifies two other tracks in chapter 1 that seem to use this same Garbled Gaster motif: April 2012 and, VERY, VERY INTERESTINGLY, THE HOLY. I won’t be getting into those tracks here, but I think it’s worth pointing out that a distinct “Man” motif might be an ongoing thing to look out for.

For what it’s worth, my research assistant also felt that man.ogg was likely an intentional variation on the Gaster Sequence. His justification included the thought that the motif could largely be boiled down to the “top two notes.” Make of that what you will.

I won’t worry too much about comparing this directly to mus_st_him.ogg as I have with other tracks in this document, since it seems to be almost a new motif in itself. The fact that “the right notes are there” but the “order is wrong” is worth considering, though – it’s the same Sequence in an almost unrecognizable form. It’s no longer a dialectic, but a partnered dance. Keeping with precedent, there’s also a very subtle, almost imperceptible echo applied to it.

As a final note, man.ogg is actually not an entirely new track – it’s been identified as a rework of a fan song (“Waltz of Seccom Masada”) made by Toby Fox for the game Yume Nikki (“Dream Diary”). Specifically, it’s a theme he wrote for the character known to Yume Nikki fans as Seccom Masada-sensei.

[#005-A] A Brief Tangent on Seccom Masada-sensei

As I mentioned in the previous tangent ([#001-A]), I want to be careful about suggesting too much from reworked tracks that were meant for or made in reference to other projects. After all, MEGALOVANIA isn’t meant to suggest that Sans is ascending to God Tier or likes saying swears. (It’s worth noting that the aforementioned April 2012, which seems to use the Man motif, is also a rework of an unreleased Homestuck track.)

However, much like with Giygas, the connections between Gaster and Uboa have been intuitively obvious since the first Fun event investigations on Starmen.net. (Toby Fox literally used a slightly edited Uboa for Dr. Andonuts’s final boss overworld sprite. The dude likes Uboa, OK?)

So, again, I don’t think it’s unreasonable in this case to take a closer look at a very pointed reference to Yume Nikki as we gather information.

Masada-sensei’s appearance in Yume Nikki is very brief; demonstrations of the segment may be found on YouTube. While the connections between spr_mysteryman’s design and Uboa are well-known, the idea that Masada-sensei and Gaster may also be comparable in some ways is far more obscure, but worth considering.

Some things of possible note from the segment itself:

Reaching Masada-sensei’s spaceship requires descending a long flight of stairs into what appears to be some type of basement. At one point, Madotsuki must equip the Umbrella Effect (which causes her to hold an umbrella while rain falls) in order to extinguish a fire blocking her way.

Masada-sensei’s sprite is in black-and-white – white face, black clothes and hair. His only discernible facial feature is a set of googly eyes that make him look a little neurotic. He also has a non-standard reaction to the Knife Effect – approaching him with it equipped will cause him to back away in fright.

When first encountered, he turns in place steadily and fairly slowly in front of some kind of piano or organ, as though playing the instrument and/or operating it as a type of control panel. Interacting with him causes him to beep at us.

The next room to the right contains a bed. If the player has Madotsuki sleep in the bed, she will wake up later to the sound of the ship’s alarm system. At this point, Masada-sensei can be seen turning rapidly and erratically, as though panicked.

The spaceship will then be seen to crash onto a planet. It is raining when they land. Masada-sensei stands still, looking out the window.

Masada-sensei and Madotsuki seem to be alone on the planet, which stretches for several screens, desolate, until it culminates in a hole in the ground, atop a mound, leading to another long flight of stairs that descend into darkness and an even stranger, more inscrutable setpiece.

Possible character parallels worth noting:

Masada-sensei’s location in a spaceship suggests associations with scientific activity.

Yume Nikki fans commonly interpret Masada-sensei as a music teacher, hence the honorific. As Royal Scientist, Dr. Gaster would have been an authority in his field. We also know that at least one of Undertale’s Royal Scientists (Alphys) is a schoolteacher in Deltarune.

Masada-sensei certainly bears some physical resemblance to the widely accepted image of Gaster; and similarly to Gaster, the small amount of subtle characterization he was given made him a very popular object of fans’ affections and speculations. It’s worth noting, however, that Masada-sensei seems to be pretty universally understood as a sympathetic and very “human” figure – something that can’t necessarily be said for Gaster among the fanbase historically and at large.

I won’t extrapolate on this information too much here, but for this section, the “teacher” thing is worth keeping in mind.

Emotional perspective

I would certainly say “surreptitious yet jocular” feels like an accurate description of this song. To me it feels playful, but out-of-step. It seems like it should be a more cheerful piece, but there’s an underlying sadness or confusion leaking through.

What stands out to me most about this track is how rough it sounds, like the piano player is new to the instrument. For being such a simple piece, there’s a clumsiness to it, a lack of confidence – it sounds like it’s being played just a little too slowly, like the piano player is practicing the muscle memory needed to play it at full speed, and the rhythm stutters momentarily between bars, as if they’ve tripped over their own fingers. A few of the notes sound dissonant, like they were played wrong.

To me, this conveys a sense of imperfect but earnest effort. The piano player is not particularly good at this yet, they don’t feel confident about it, but they’re continuing to play. While the song isn’t exactly succeeding at evoking cheer or comfort, it still conveys sincere curiosity.

Characterization perspective

The way this song deviates from the base Sequence, combined with its rough, unrefined sound, could suggest that Gaster is breaking form in these scenes, perhaps stepping out of a comfort zone and attempting a new form of learning.

Aside from the traffic easter egg in chapter 2 (only seen if he was met in chapter 1), these are the only scenes in which Deltarune’s Gaster manifests in-universe and interacts directly with another character. Given that Gaster seems to prefer staying hidden as much as possible, and is also literally an extraplanar being, it isn’t difficult to see why he might be out of practice for this kind of interaction.

The playfulness suggests a drop in facade, and may reflect an innocent and almost childlike curiosity about the Player and/or Kris. The use of a waltz suggests a desire for connection, as though it’s an invitation to dance.

(Setting aside any specific Gaster relevance, I feel there’s a more general trend developing in Deltarune of waltzes being used to convey themes around connection, such as loneliness, the awkwardness and growing pains of a new relationship, the vulnerability and comfort of trusting a new friend, and the despair of a valued connection unexpectedly severed.)

The evocation of a novice sound could also suggest a more general relationship to teaching or nurturing. Recalling the tangent on Seccom Masada-sensei, we could read this song abstractly as a teacher’s perspective of a student’s development.

While Egg could have any number of worthwhile meanings as a symbol in Deltarune, we shouldn’t disregard the obvious: Egg is a young, fragile life in need of gentle handling and incubation. By giving Kris Egg, Gaster seems to be asking them (and/or the Player) to protect it — the future of Egg is in their (our) hands now.

We also have Lancer telling Kris they “won’t get through [their] teen years without at least one Egg” (itself a reference to EarthBound). With this perspective, we could read the act of giving Egg to be itself a gesture of nurturing on Gaster’s part, if admittedly a very bizarre and confusing one from Kris’s/our POV.

The fact that Players on a Snowgrave route will be locked out of chapter 2’s Tree Room could suggest that this behavior causes Gaster to second guess his trust in the Player and their ability to handle such a fragile responsibility.

[#006] Takeaways

While Gaster’s dialogue projects an air of unwavering, confident professionalism and emotional neutrality, the musical information presented alongside him hints toward a complex emotionality lying beneath his mask. Gaster is far from unfeeling – he’s simply hard to read, and that may be, to some degree, his intent.

In general, Gaster may have difficulty trusting his own judgment, whether as a response to past mistakes, and/or as a natural result of his tendencies toward hyper-analytical rumination and emotional repression.

The Gaster of Deltarune seems to be engaging in a great deal of reflection and introspection. He may be proceeding with this study despite having serious reservations about it. He seems disheveled and, to a certain degree, desperate. Whatever reasons Gaster has for being so interested in the future of Deltarune’s world, these reasons are powerful enough that they are, in many ways, breaking him down.

Despite his spoken eagerness to connect with the Player, close observation may suggest that he’s quietly uneasy with the arrangement and may be more skeptical and/or fearful of us than he lets on. 

For whatever reasons, Gaster also seems to have a particular fondness for and sentimentality toward Kris, who he seems to want to nurture and protect, while also viewing them as a potential savior and source of hope. The association of both characters with piano seems to underscore a connection between them.

OK im tired of writing about this now. THE END !!!Q!