#it's not fucking SubVErSiVe. and for that matter...

[oakt733]

i love when horror explores the "was once a deer" and "maybe it was never a deer to begin with" concepts, especially how tma and tmagp does it.

Jon falls in the "was once a deer" category as he never wanted to become the antichrist but nothing he could do could prevent it, it was inevitable. Most of the main characters are in this category, with desire driving them to corruption (like Elias) but if someone already has an "affinity" for one of the fears (like martin or melanie) does there change mean they were never human to begin with or just that their being got twisted? Melanie was always angry, the bullet just justified her anger and rotted her from the inside in a way she wasn't opposed to, so she could have already been marked with the slaughter before the bullet. While Martin's upbringing and general shyness meant he was weak to the lonely, I think his corruption was from being a victim of Peter Luckas and his employment at the institute - overall more unwilling than Melanie.

However other characters - like bonzo in tmagp - could fall in the "was never a deer" catagory. Was he always an eldritch horror pretending to be innocent for tv, or was it a slow change over time? Was it an inevitable change built into his being or was it because of outside forces? Same with Breekon and Hope, because we don't know how they came to be we don't know if they were always these monstrous almost-people delivering terror to whoever they come across or if it was a change that happened over time. I like to think they were never right but over time got worse and worse.

Overall, the way each character is subtly in either one of the categories - even when not being fully "monstrous", power wise or in how they look - i think is a unique way of exploring the trope, as at the end of the day most of the characters are still Human, they have always been Human, but there is something twisted that challenges the definition of what a monster is.

Idk if that made sense but i love this podcast and how it challenges what makes a monster, and i love the "never a deer" concept and my brain is rotting. Silly little gay men going through the horrors.

[psalmsofpsychosis]

yeah so i dont get the "wasn't that some fucked up shit? anyway i'm Rod Sterling" mentality some people have towards different narrative reads. It's all sweet and cool to want to explore all the different variations of a fucked up scenario, but i'm gonna need the reasons for it. I need the "why"; why are we exploring this thing? Why is it important to explore this story? what am i getting out of it? and no it's not about morality.

I dont need a story to teach me "good" life lessons, though that'd be lovely. I dont need it to be an exceptional and exemplary narrative even, but i need my discoveries to be purposeful and meaningful. Sometimes the aim for an exploration of say, a very tragic story, is to simply experiences the different flavours and nuances and complexities of a deeply held personal emotion; sometimes it helps us find the mirroring and connection and relatedness that we need to feel seen and heard and understood. Sometimes it helps you parse out your own bullshit by taking it out of your head and putting it in front of you– i dont care what the reason is, but there's a reason. There's a purpose for every single endeavour you take on, even if you haven't discovered the reason yet. "i just want to experience a fucked up shit" lazy superficial thinking, dig deeper. I hate superficial and purposeless shit; and no i'm not gonna explore the 863796373th trending trauma porn piece of the day because "wouldn't that be fucked up?" nah. I dont care, it's got no use to me. I will absolutely respect the endeavour and make space for it if someone tells me something as simple as "it is relevant to me and my interests and experiences and my mental preoccupations, and helps me refine my humanity and my understanding of humanity in general", that is a lovely and true statement. But if someone keeps churning out worst possible fucked up sad scenarios one after another under the "wouldn't that be fucked up?" flag, i'm out, i dont give a fuck. take your sad shit somewhere else, i have absolutely zero space for purposeless horrible narratives that positively add nothing to my life and dont help me navigate it in any meaningful way.

[mumblesplash]

hrnmgngm i ignored my better judgement and read some of the notes on that writing post. bad idea don’t do it

[rachel-sez]

I finished another cross stitch, this one my own design from scratch.

[sword-and-lance]

OK apparently my cut broke, TRYING THIS AGAIN

((really though one would think that Athena just outright TELLING US that no actually I was only interested in my work not in my family my family is LITERALLY a tool for my work ad nauseam

and with the game even outright bringing up the notion of did the Spooky Rock make her evil :O only to have ATHENA HERSELF go LMAO NOPE I'M JUST LIKE THIS and Lahabrea to concur wholeheartedly

you would think that all that would maybe have gotten some sections of this fandom to knock it the fuck off on insisting that she actually laaaaahved them for realsies or whatever

y'know, let the jackass be the Asshole Girlboss Hojo Expy she clearly always wanted to be

and THEN))

[snekdood]

If you believe the shit my abuser says about me and use that as your reason to not listen to trans men who are vocal about our issues then you dont care about trans rights. you make all of your moves based off of drama and a desire to keep the clique pristine.

[txttletale]

REKOMBINAT: GIVE NO CREDIT TO THE CULTURE OR THE FLAME

a little while ago, magnesium oxide and i got together to write down some things about the art we want to make. we called these things REKOMBINAT.

☭☭☭☭☭☭

1. WE LOVE ART THEFT 

if you wanna be heard you gotta be ready to be repeated. exerting control over art makes it sterile and dead. copyright is a mausoleum and tomb-robbers are heroes. 

2. STEAL WITH PERFECT GREED

if we have to clutch it in our hands. words and lines and thoughts are ours to command if we are quick and fast and brave enough to take them. cope

3. MONEY ALL SMELLS THE SAME

and spit it out no matter what. high culture? low culture? i see no difference, love is love. find the meal in whalefall and quote that fucking newgrounds comment bouncing around your head all day.

4. WE HOPE SMALL BUSINESS JAKEY DIES TOO

 life’s too short to care about anyone with employees 

5. TRANNIES AND FAGGOTS 100 YEARS

we were here first and were going to mulch every picket fence in front of you. art is for weird bugs and sexual perverts and subversive communist foreign agents. 

6. ATHENA WONT COME OUT OF YOUR HEAD BUDDY

you didnt make that without stealing and grasping and letting the culture sink under your skin. nothing is original so let’s not lie. take and copy and imitate but do it well.

7. NOTHING IS WHOLESOME NOBODY HAS A SOUL

there is no age of perfect beauty to retvrn to. art happens when your senses meet an object and not in our immortal Calvinist ageless souls. machines can paint and construction sites can sing. 

☭☭☭☭☭☭

[edenavari]

On the Matter of Mirrors

Eddie is still trying to convince Steve he and Nancy are made for each other. It comes up, like, everytime they hang out, which is all the time, because Steve couldn’t stay away if he wanted to. He doesn’t, but he also wishes Eddie would quit trying to set him up with someone else. 

‘Cause, like, here’s the thing. Steve likes girls. He also, he realized sometime after Robin came out to him, quite likes boys. He likes Eddie. Like… Really likes him. Practices pick-up lines in front of the mirror kind of like. Wears a little more black and tousles his hair just right to give himself a subversive edge he never used to have, just the right amount to trigger a subconscious response without appearing to be tweaking his fashion sense at all. Has mastered the art of wearing eyeliner without looking like he’s wearing it, and it took him a fucking while to work up the nerve to go out like that, not that anyone but Robin noticed. 

But Eddie just will not drop the Nancy case, no matter how many times Steve tries to stir the conversation away from her, and between his budding crush and the crushing fear that it’s never gonna be anything but one-sided, between the slightest of sore spots Steve still sports about the way things with Nancy ended in the first place and the bitter edge of never managing for something to start with Eddie after weeks of efforts, it’s beginning to grate, right? 

“So what’s the problem?” Eddie insists, bounding circles around Steve like an eager puppy, and something in Steve’s ribcage snaps. 

They’re in Steve’s room studying when it comes up once a-fucking-gain. Eddie is taking accelerated summer classes so he can finally graduate by September, and by some inexplicable fuckery of fate, despite Steve’s own dirt poor records, he’s turning out to be a decent tutor. Something about Eddie managing to focus in a way a classroom environment never allowed him to. Maybe because most teachers and over half the student body were openly hostile at worst and aggressively ignoring Eddie at best, all because of his last name or his tattoos or his loud brassy cheek.

All the same, Eddie does get distracted fairly easily, and an hour in, he’s bounced off the bed and started rattling reasons Nancy Wheeler is definitely Steve Harrington’s soulmate. Steve groans noncommittally, gets up to grab his water from the desk and takes a long swallow as Eddie keeps needling him. 

“You’re the problem, Eddie,” he all but snarls, when he really meant it to come out exasperated at worst.

He snarls, though, and Eddie stiffens, his eyes going cold and hurt and the corner of his mouth turned down in anger. 

“Right,” he says, and it sounds so casual Steve thinks he won’t make a big deal of his tone after all. Fool’s hope. “I’ll get out of your perfect hair, then,” Eddie spits out as he makes for the door, only Steve stands in his way, hands up in surrender. 

“Wait, I didn’t mean it like that,” he starts. 

“No, you’re right, it’s none of my business,” Eddie interrupts, but he steps back, gesturing wildly as he speaks. “It’s not like we’re even friends, you just got saddled with me because of Dustin. We saved the world together? Big deal! My involvement was incidental, really, more of an inconvenience than any kind of help. Why would you want my opinion, of all people’s, right? Even by this point. Get out of my way, I’ll quit stepping on your toes. Go on!”

“I don’t want you to go, Eddie,” Steve tries again. 

“Just want me to shut up, is that it? Not really my strong suit, you might have noticed.”

Steve can’t help smiling. “I have noticed.”

It only seems to rile Eddie up even more, throwing his hands out and making to step around Steve again. “Man, what do you want from me?”

“Is this allowed?” he breathes out, extending the last word beyond its scope. 

Which puts him within reaching distance of Steve, who grabs him by the lapels of his jacket and presses him, careful not to jostle him too bad but firm enough to counter his manic strength, against the wall. He doesn’t know what to say, so he doesn’t say anything, just presses a touch too close, lets himself imagine that he’s going to close the distance entirely, cocks his head and licks his lips and hangs there in a way he hopes spells it out for Eddie without inducing any kind of panic. 

Eddie, hands still up at shoulder height, lets out a little huff close to a whimper when his back hits the wall, bracing himself for a hit that would never come, and maybe some part of him knows this, because he doesn’t look scared or angry anymore, just kind of confused with a side of grief, and it doesn’t take two seconds for him to start to look intrigued, maybe even, if Steve allows himself a little optimism, interested. 

His lips part on a sharp inhale, and they’re close enough to smell each other’s skin, and Eddie’s eyes drop to Steve’s mouth, a little watery and out of focus, edging forward in a way that could just be a twitch, just a consequence of holding his breath the way he is, plausibly deniable, subconscious no doubt, only when Steve mirrors the movement, he does it again, gaze moving up and down from Steve’s eyes to his lips and back and back again without blinking, until twitch by twitch their noses graze and their mouths connect and Steve closes his eyes and concentrates on maintaining that seal over Eddie’s plush, pliable pout, because if he didn’t focus, he’d be way, way overeager for a first kiss. 

He moves back after several seconds with a shaky exhale, swallows as he finds Eddie’s eyes again. His blood is thrumming in his fingertips, somehow he feels both cold between his shoulder blades and warm down to his toes, and if Eddie looks at all put out he thinks he might never manage another mirror in his life. 

The look on Eddie’s face is pure disbelief. 

Steve shrugs, not quite settled on the matter of mirrors. “I thought you made a point of breaking the rules?”

A glint starts to wake in Eddie’s eye that’s looking more delighted by the minute. 

“Just as long as it doesn’t hurt anyone.”

“We’re in the clear, then,” Steve whispers, leaning in, just a smidge. 

Both of Eddie’s hands sink into his hair as he pulls him into another, much steamier, kiss. Steve lets his fists fall from Eddie’s lapels and knot over his back instead, lets his mouth drop slightly open, an invitation Eddie wastes not a second to follow through on, teeth scraping and back arching like he wants to sink all the way into Steve, and by the time they’re parting, breathless, cheeks flushed, mouths stinging, Steve’s one hand is braced against the wall, holding himself up, knees too weak to do the job on their own. 

“I thought you could barely stand me,” Eddie heaves.

“I can’t,” Steve admits. “You drive me nuts. Just not how you thought.”

Eddie frowns, suddenly serious. 

“You should forget all about Nancy.”

Steve frowns too. “That so?”

“Hm-mm. She’s taken, man. And not all that. You need to move on.”

“Damn,” Steve sighs. “Am I being desperate?”

“Pathetic,” Eddie nods, barely a whisper against Steve’s lips, and they break into smiles in tandem. “Forget all about her,” Eddie repeats. 

“Who?” Is the last word Steve gets out. Then he’s busy enough he really does forget. 

When he fixes his hair in the bathroom mirror in the morning, he walks away with a wink.

Give us a kudos, if ye dare x

[transbrucewayne]

F1 but it’s ultra specific ship dynamics that I need in order to enjoy the ship:

Versainz: baby’s first situationship (literally pentaltyboxbox’s art is my versainz thesis. “Ay, Max, no. I am not gay and neither are you” 🤨) teammates who weren’t supposed to like each other reluctantly becoming friends and then being intricately connected for the rest of their careers. But totally not in a gay way. Of course.

Chestappen: repressed catholic and some guy who needs dilf pussy so bad he wants to kill himself (this is deeply important to me)

Strollonso: Brat princess Lance. Heros and anti-heroes. I’m on the dark side. Tell Lance not to worry I just want to build a gap with the cars behind. You’re my fucking hero.

Carlando: Baby’s first situationship pt.2?? Lando with a massive crush, first real boyfriend Carlos….i need there to be angst. Lando fell first AND harder, etc.

Britcedes/Gewis: George fumbling all over himself trying to impress Lewis, Lewis just thinking he’s cute no matter what. It’s the coolest man alive/weird little freak he’s obsessed with pairing of my dreams. George: this is my boyfriend he’s cooler than me and also he’s cooler than all of you.

Maxiel: first love married divorced remarried pining missing something that maybe was never there will they won’t they one big game of gay chicken healing from baby’s first situationship etc etc etc (I adore them)

Dando: trying to find solace in another, longing for someone you can’t get back, subversion of expected dynamics (controversial: I fully believe Lando tops in this one). But also. They need to have one brain cell. Lando blabbing on about god knows what. Daniel sweating and popping a vein bc of how much he needs to kiss him.

Twinklaren/Landoscar: third time’s the charm, oh you’re the one I’ve been waiting for, tender glances, young love, first teammate crush syndrome

Danterri: we had something weird in the past. “Find another weed guy I can’t fuck with you…uhhhmm nothing personal I can’t fall in love right now and youre Everything I love so if I ever see you again I’ll never let go of your hand sooo yeah” (we’ve all seen that one web weaving.) Are you dating the female version of me?

Lecciardo: WHAT THE FUCK HAPPENED IN VEGAS. Charles needs dick from a guy with unstoppable charisma soooooo bad. Fueling each other’s impulsive sides, etc etc

Sebchal: baby’s first situationship (Charles’ version) (from the vault) I miss you so much I’m going to listen to breakup songs all night long. I still think of you every day. I named you twice in a list of drivers. You may even kiss. If it was the omegaverse Seb is so obviously an alpha.

Brocedes: if it doesn’t make me physically sick to my stomach with anguish I do not want it. I hope you die I hope we both die. Hand in unlovable hand. I still consider him my best friend in my heart. We’re not friends. Are they lovers? Worse.

Chewis (Charles/Lewis. I recognise this is also the name for Checo/Lewis. What is the Charles/Lewis name?) me and the bad bitch I pulled by being in violation of that one article section. You know the post. They suffer together. Kinship in joint pain. You’ve got a long future ahead of you. Praise kink.

Let me know if you want a part 2, if so, send ships you want!

[trappedinafantasy37]

So, I'm in the middle of typing up a mini essay about fandom opinion about Minthara and how she is often mischaracterized, especially by those who do not know her. One of the points that I bring up in that essay is that she is the most loyal companion. Then, I really started to question to myself, how exactly is Minthara the most loyal?

Shadowheart will leave your party if you don't take her to confront the Nightsong. Astarion will leave your party if you refuse to help him at all with the ascension ritual. Lae'zel will leave the party if you try to leave the creche without going into the Astral Prism and you fail to convince her to trust you. Wyll and Karlach will leave the party if you raid the grove. I believe Wyll may also leave in regards to a very specific outcome with his dad, but I can't find anything to confirm this. Gale will leave the party if you fail to convince him to stay after the grove raid, or you fail to stabilize his orb by the end of Act 2. Halsin will leave the party if you fail to resolve the Shadow Curse by the end of Act 2. Jaheira will leave the party if Minsc dies, or if Durge accepts Bhaal. Minsc will leave the party if Durge accepts Bhaal.

But there is not a single decision you can make that will make Minthara leave your party. Once she is there, she is there for good. You can make whatever stupid decision you want, good or evil, and she'll still be right there. You can make whatever decision she disagrees with, and she'll still be right there. You can leave her behind in camp when confronting Ketheric or Orin (even after she begs you to take her with you), and she'll still be right there. You can blow up the Netherbrain, and she'll still be right there. You can literally be the nicest do-gooder in the world, and she will still be right fucking there. She might be irritated, but she'll still be right there.

You literally have to purposefully drive her away to get her to leave, and that can only be done by getting her affinity deep into the negatives. And even the most morally good of players won't be able to naturally do that on their own. You have to go out of your way and purposefully choose every option that will piss her off. So, as long as you're not an asshole to her, she will stay by your side no matter what.

That's what I love about BG3 and the subversion of tropes. The one companion who will stick with you through thick and thin, is the "evil" one. The one companion who will never betray you in any way, is the "evil" one (which is ironic as she comes from a culture that is all about betraying the ones closest to you). You can recruit all 10 companions and have all of them leave your party at some point, and the only one who won't, is the "evil" one.

This is no longer just an opinion of mine. It is a fact, Minthara is canonically the most loyal companion. She will always stand by you no matter what you do, even if she hates the things you're doing.

[mothmans-side-ho]

Armand called Lestat a clown in the most round about way

s2e3 hot wired the two passions in my brain into this info dump, however seeing as a central theme of this episode (and the season) is power, status, and their subversions, it seems relevant. for context, I have 2 degrees in theatre, specifically theatre history and how trends effect form. (I am in no way an expert though, and this is very simplified). long story short, I'm relishing in being a big ol nerd about this entire season

FINALLY, we got to see Lestat (a version of) strutting his stuff on stage in a scene with peak commedia dell'arte shenanigans. Commedia dell'arte is/was an originally Italian form of theatre which was defined by lazzi (comedic bits), improv, and stock characters. these stock characters have been around from Roman times and are still super familiar to us today - the young lovers, the pervy old rich man, the soldier with bravado, etc. It's been seen as a somewhat formulaic form of theatre which relied on quickly identifiable characters and situations so audiences can sit back and enjoy the butt jokes and servant beatings.

In the book - specifically The Vampire Lestat - our beloved Lestat RELISHES in playing a character called Lelio, one of the young lovers. It is in playing Lelio that he "found a tongue for verses and wit [he]'d never had in life" (TVL pg 31). It is in playing Lelio that Lestat first gets a taste of the person he can become, and it is in Lelio that we see the first glimpses of the Lestat which so fully seduces Louis. In short, Lestat casts himself as the suave and handsome romantic protagonist, here to sweep people off their feet. The young lovers are also notably some of the only roles portrayed without masks, to emphasize their youth and natural beauty.

SO IMAGINE MY SURPRISE WHEN LESTAT SHOWS UP IN S2E3 DRESSED LIKE THIS:

He has a half mask! He's wearing all sorts of colors! He's clearly acting as a go between between two other characters who seem to be of a higher status than him! As I said before, commedia dell'arte can be very formulaic (especially by the late 1700s when it is being codified away from being improv focused to being cemented into scripts). From all of these visual and characterization clues, Lestat is not playing Lelio the young lover, he's playing a Harlequin! And his costume seems to be heavily based off of this Harlequin (Arlecchino, Arlecino, etc.) which is literally the wikipedia image of a Harlequin.

(note, if you give a fuck, this image is depicting an Arlechino from 1671, roughly 125 years before Lestat on stage. in my mind, this accounts for the changes in silhouette, styling, why Lestat doesn't wear the mask for the entirety of the performance, etc. Also, just while we're talking about costuming, I believe the late 18th Century was still a time in which actors would have been expected to provide their own costumes, which would explain why Lestat's version is made with expensive fabrics and includes cunty little details like the bow in his hair. At the very least, I can see him making looking good a priority as the owner of the theater and as...well...Lestat.)

Okay, okay, okay. Why does this matter?

Harlequins are not characters of any social status. They're servants who are quick witted enough to get into antics but stupid enough to be commanded by animalistic instincts (lust, food, you name it). The Harlequin being beaten by their master was ENORMOUSLY funny, and is the origin of the term "slapstick comedy". They a memorable iteration of clown.

In this scene, which I'm willing to bet was inspired by (if not outright) Carlo Goldoni's A Servant of Two Masters, Lestat plays a servant who interacts with two characters. One appears to be a young woman in a breeches part - another common trope of commedia performance. The other appears to be the young male lover! We see Lestat prancing between the two, seemingly facilitating some romance plot, being paid for his compliance, and doing a good ol fashioned butt lazzi. (Could he be presenting his ass for beating? Maybe.)

So why is Lestat not the young valiant lover, but instead A LITERAL CLOWN? Three potential, not conflicting, reasons. By the time Lestat is performing (mid to late 1790s, based off Armand's earlier comment about Robespierre's 1794 execution), the Harlequin characters were the most sought after roles! At this time, we are seeing the emergence of "Celebrity Culture" where audiences sought out actors for their off-stage personalities as much as their on-stage ones. This is an extremely fitting position for Lestat to fall into. Yay a semblance of historical accuracy!

Secondly, Lestat's ENTIRE ROLE in season two is to come between this season's new pair of young(ish) lovers: Louis & Armand. Lestat's function is to repeatedly detract and distract from their relationship through Dreamstat's antics (appearing at the piano calling Louis a whore, having Louis re-kill him, etc.). Additionally, simply put, Lestat (and Sam Reid as Lestat) is a lot of fun to watch. He is absolutely a stand out (if not THE stand out) of the show! His constant ability to serve cunt is often what your eye is drawn to, he pulls focus to himself, and often undercuts the more subdued, philosophical, and morose nature of others. Both on-stage and on-screen, Lestat continuously upstages his screen partners. He does kinda function as a Harlequin. But in the end, the Harlequin's antics are also what ultimately drive the young lovers together. If not for Lestat's actions, Louis and Armand would have never met nor bonded over knowing this fucked up brat prince.

But we also have to remember! This portion of the episode is presented by Armand the mind fuckery master. It is absolutely in his best interests to paint Lestat as some sort of ridiculous, lesser being driven by animalistic nature. Especially if - by extension of the metaphor - this frames he and Louis as the virtuous and optimistic young lovers, striving to cling to each other in a world of chaos. I would be EXTREMELY interested to see if, when recollected by someone else, Lestat appears in a different role or characterized differently.

Again, given the celebrity culture of the time and Lestat being himself, it is entirely believable that he would appear in the Harlequin role (Truffaldino, if this is Goldoni's Servant). However, I think it's extremely telling that in Armand's iteration of the story Lestat is not the dignified, refined, and sympathetic young romantic. He is instead a literal fucking clown.

[ofallthingsnasty]

I think we don't talk enough about some good old trope subversion with fat readers. You've been told your whole life that you're undesirable, that rarely anyone wants to fuck you - which has its perks. You blend in with the masses, you don't get groped on the bus, don't get followed home. Your fatness is security, an abstract shield that wards off a lot of unwanted attention.

Until it isn't. Until it's the very reason you wake up chained to a bed, with someone you've never seen before cooeing down at you. How horrifying it has to be, how sobering. You're a slab of meat like anyone else, in the end. It's just a matter of perspective.

[boreal-sea]

Masculinity does not belong to the patriarchy.

Masculinity can be as queer and as subversive as femininity, and I don't just mean when it's worn by cis women.

Masculine queer MEN are GOOD, too.

Doesn't matter if that man is bi or gay or trans or nonbinary or any other queer variation you can think of. His masculinity is still good.

And of course this includes masculine queer women, because let's be honest, some of you who claim you support butches are still fucking abnormal about masculinity even when it's a woman performing it, especially if she's "too masc" for your tastes.

And this includes people who are nonbinary or genderqueer or agender. They don't owe you neutrality in their grender presentation. They can be the hairiest, fattest, most masculine butch person you've ever seen, and they're still nonbinary.

[meanbossart]

What horror games have you played/wanted to play? Also have you tried any rpg maker horrors?

I actually don't play that many horror games, I don't think? Between you and me most of them are... Kind of garbagee. But I like when really weird things are taken dead seriously, which most video games don't succeed at. But in the rare time they DO, it usually falls into the "horror" genre at least loosely. I'm just going to list my favorites:

PS: I'm really showing how insufferable I am with these summaries, sorry!

The Outlast series: the most Tasteful tasteless gory-shit-fest of a horror series I've ever seen. I don't like shock for the sake of shock, and Outlast somehow manages to always make it for the sake of SOMETHING. The original game+DLC is a buttload of fun, and if you pull back one layer it also poses some interesting and difficult questions about the place and treatment of the criminally inclined in society. Pull yet another layer back and you find a fascinating subversion of the expected role men are supposed to inhabit in horror games. The second game is a vastly different, and profoundly emotional experience, opinions on it vary for reasons I find very understandable, but I personally really like it.

Fear & Hunger: I guess this answers your question about RPG horror games! Unfortunately, this is the only one I ever played that I liked, but REALLY like it, I have a tattoo of the circle of perfection on the back of my hand, even, lol (I already had other hand tats, don't freak out). I just really like the absurdity of the story and all of the lore that the developer has cooked up for it, and the way it all matters but also kind of doesn't. I think its an insane feat to have achieved the atmosphere he did with the limited tools he has, not to mention the massive amount of respect I have for any creator that simultaneously wears their influences on their sleeves while displaying massive creativity and originality.

Pathologic: This game kind of speaks for itself honestly. Its just brutal, creative, infuriating, I could go on - It's probably the most immersive experience I've ever had in a game. If you've never played it before I would suggest buying Pathologic 2 (don't worry about it) and playing it completely blind. Forget about "winning", forget even about succeeding, just go about it as if you were in the protagonist's shoes and see where you leads you.

Scorn: Without a doubt in my top 5 games of all time and I don't care that that is an insane take. This game is everything I want from interactive stories - entirely intuitive, doesn't spoonfeed you a single grain of its lore or pushes its story on you, it just puts the pieces in your hands and its up to you to feel it on instinct. This 5 hour game with no dialogue, no text, not even any named characters to speak of had me crying at its ending and I didn't even know whether I was sad or overjoyed. I fucking LOVE scorn.

Honorable mention:

The Space Between by Christoph Frey (not to be confused with The Space INbetween.): Is a short, 30 minute experience about intimacy presented through a horror lens. I really don't want to say anything else about it, but I played it like 5 years ago and I still hold it near and dear to my heart. It's a master's guide to storytelling through semiotics and exemplary in it's... Emotionally charged visuals? Like, I had never before seen a story make sentiment into and external, tangible thing quite like this one does, like turning sound into an object or something. Amazing little indie game.

[artbyblastweave]

So this was a one-and-done beat from Marvel Zombies 4, by Fred Van Lente and Kev Walker, which featured a zombie outbreak in the quote-unquote "regular" Marvel Universe, on the fictional Caribbean island of Taino (not sure if this is a deliberate historical reference or not.) Two panels after being introduced, these three are annihilated by an airborne cloud of zombie virus and stitched together into a shambling monster that rambles about how it fights for Truth, Justice, and the Corporate Way. That's ancillary to the point. Ignore that. What this gets me thinking about again is this concept that I have of Super Hero "Dark Matter" worldbuilding, which is the fact that basically every horrible deconstructive beat, every subversive cynical implication of the existence of superheroes you can think of, everything you'd associate by default with The Boys or Invincible (or, on the lighter end of the spectrum, Astro City,) all of that is probably already canon within the DC and Marvel Universes; canonized in niche little miniseries or cult-classic runs of niche characters. Often, canonized in ways that imply the existence of common, broad dynamics that exist within the world, outside the protagonist-centered provincialism of New York or Gotham or Metropolis; all sorts of shit going on that we don't see until it comes into fleeting contact with Spider-Man's knuckles. In this case, the logic is that if superhumans exist- indeed, if superheroes exist- then superhuman-backed neocolonialism would follow. These three aren't here to protect Taino; they're here to protect a fucking resort from the people of Taino, in the event that the American tourists need to leave in a hurry. They work for Roxxon, which is the by-default evil Marvel corporation, the name they break out whenever they want to quickly signal that they're doing a story about corporate malfeasance; what are the odds that these were the only three like this that Roxxon had on Payroll? The one corporate holding being protected this way? That'd be a hell of a coincidence. You can infer an entire ecosystem of these corporate thugs floating around in the background of Marvel, becoming an explicit presence in ones and twos when Mark Waid or Al Ewing need some vile corporate sellouts for a quote-unquote "real" hero (someone with their name on the cover) to beat within an inch of their life. But you start doing the numbers on how many times this kind of plot beat comes up, and you start to come to the conclusion that the Marvel and DC universes have, in fact, always been exactly as dystopian and fucked up as something like The Boys. It's just that in a single-author dedicated deconstruction, the story is allowed to actually notice and remember.

[rainboneish]

so, if Gege’s “three will die and one survives” statement holds true and no one comes back to life, both possible scenarios are compelling in their own way (megumi or yuji being the one to die)

on the one hand, Yuji dying would be a full circle moment; one of the first things established in the story (before everything went off the rails for the characters) was that this story would end with Yuji’s death after he had eaten all of the fingers. It would also fulfill his grandfather’s wish of him dying surrounded by people (also possibly not dying alone in the most absolute sense if he manages to get Sukuna back in him and they go down together)

Ending a story the way it was supposed to end (according to the characters) from the start but getting there in a different way than expected scratches an itch in my brain

if that happens however Megumi is the lone survivor, which would be absolute tragedy, considering how Megumi’s will to live (according to this latest chapter) hinges on being there for Yuji… losing Yuji would break the bit of him he has managed to claw back together from the bath…

on the other hand, Megumi dying and leaving Yuji as the sole survivor would be a cool subversion of the expectation originally set up at the beginning of the story (where, if everything went “right”, Yuji would have been the only casualty out of the main cast)

though Megumi dying after just getting the will to fight back and pulling himself out of the “bath” with Yuji’s support would make his loss even more painful, i do think Yuji is capable of “surviving” his loss and moving forward (one could also argue that Yuji’s purpose in the Jujutsu world would end with Sukuna’s death, but a major point of chapter 265 was to establish that Yuji has shaken the cog mentality and embraced living for living’s sake)

Yuji is a character who would have been trying to save people no matter what, even if he had never gotten involved with Jujutsu (see the interview about him becoming a firefighter otherwise), he has shaken the cog mentality, and while i believe he would mourn Megumi greatly (as well as everyone else he has lost in the past 24 hours and hasn’t had time to process, my poor boy T-T), i do think, if only one of them could live, him surviving would end the story on a more hopeful note than Megumi… which is not to say either is a better/worse writing choice

(i just spent way too many words on why i think both are compelling options)

either way, i need Gege to give me a scene of all of them being happy together in the airport/afterlife (can’t believe i’m asking this cat to give me a Supernatural style “last survivor dies of old age and goes to heaven where he is reunited with all of his loved ones)

unless of course, gege decided to say fuck that and let’s them both live, or let’s sukuna win WHO KNOWS, diabolical cat