#this is the final ask from the thematic game

[thesimperiuscurse]

Can we get 3 + 4 for Mako and Eva in the ask thingy? :D

03 — Animal 

Black Cat; This can be interpreted as the black jaguar, ruling the shadows yet destined walk the nights alone. Or the black house cat, elegant and imperious yet winding around the ankles of his favourites. 

04 — Mythical Creature 

Basilisk; The king of serpents. Feared even by other monsters. Tales whisper of Death summoned by a glance. 

03 — Animal

Ina A Little Grey Cat; Rough-and-tumble and perhaps not the brightest, this house cat is incredibly cute and much beloved. 

04 — Mythical Creature

Mermaid; Divine femininity, born of the sea foam, the mermaid is a creature often depicted as wild but beautiful. She sings songs that can guide sailors to their salvation or doom. 

[blacktabbygames]

Something I've been curious about were you guys always going to plan the stranger having her own special ending before you got to the final stranger? Or was that something you decided after you finalize the stranger?

A lot of the narrative design work on Slay the Princess came from following things to what felt like their logical conclusions, and letting the pieces fall into place as they clicked. Given the looping nature of the game, it made sense for the "final" encounter to be with the "first" Princess, taking you right back to where you started and asking you to make the same choice you had to make at the very beginning of the game, but now with all of the context that comes with playing through the game. The Stranger stuck out like a sore thumb there, since if you do her route first, she's the first Princess you meet, rather than Chapter 1's Knife!Princess or NoKnife!Princess. So it only made sense to give her a special ending, which also balances out how short/linear her route is overall (even if, in terms of game logic, she had far and away the most complicated chapter to code.) The Unknown Together ending in general was another piece of the puzzle that just happened to fall into place near the end. In the earliest draft of that ending sequence (in my brain only) you would arrive at the final cabin knife-already-in-hand, since you'd only get there by resisting the Shifting Mound. But as we started actively working on that part of the script, it felt more compelling to set up that final situation as a more direct mirror of Chapter One.

And because we wanted it to be a reflection of the beginning of the game, it made sense that whether or not you take the blade with you downstairs should be a huge decision. Almost a little test for our players — did you realize by the end of your runs that the knife doesn't, like the Hero suggests, "always seem to give us more options than not?"

But needing to include that choice raised the question of, "well, what happens, metaphysically, if you don't bring the knife?" And the answer that was most compelling to us was "we don't know, and the fact that we don't know is what makes the choice so compelling." One of those bits where it's wild to think about how late an addition that ending was, since I think it's vitally important to the themes of the story. If the nature of death is a major thematic through-line of Slay the Princess, The Unknown Together is the only ending that truly confronts its terrifying mysteries, and it does so by abandoning fear on the floor of that final cabin.

[kaizokuou-ni-naru]

Was reading over the reverie arc tag and saw that you said to re-ask you about Im after what happened is revealed. (I'd provide the link but tumblr won't let me) So, while not much was revealed, thoughts?

what i think is really interesting about imu is how they compare and contrast to the other characters who have been set up for us as endgame villains, those being blackbeard and akainu. compared to both of them, imu is established quite late in the series, and how they will fit into the unrolling narrative and themes of the story is still somewhat unclear.

both blackbeard and akainu are established firmly well before they enter the main story as primary antagonists. we hear about blackbeard as far back as alabasta and meet him in jaya, while akainu is first seen in robin's enies lobby flashback and mentioned even before that. and they each also embody a strong thematic conflict with the main characters that is going to need to be overcome by the end of the story.

blackbeard mirrors luffy in his pursuit of the pirate king's throne, existing in the same lineage of villains as doflamingo and big mom. it seems almost certain that he will be the final and most difficult fellow challenger for the title of pirate king that luffy will need to face, and the eventual showdown between the blackbeards and strawhats has been telegraphed for quite some time. the question this conflict asks is, what does it mean to be a pirate? what does it mean to be a pirate king?

meanwhile, akainu is the embodiment of authoritarianism. he's the law, brutal and indiscriminate; he represents the order that would stifle freedom. he is much more alike to antagonists like rob lucci and cp-9. while i usually try to avoid speculation on this blog, i think akainu's final defeat will probably not be at luffy's hands; i think a showdown with sabo is much more likely. and the reason i think this is because the question that the conflict with akainu asks is, what does real justice look like? this is ultimately the question of the conflict between the marines and the revolutionaries; they are two armies fighting over whether the current order will be maintained or torn down and built anew.

so, then, imu. we meet them quite late in the game, and still know very little about them. however, i do think this is in itself thematically resonant; we see almost no trace of imu anywhere else until we reach mariejois itself, because they have been deliberately erased from the world. imu is tied, specifically and inextricably, to the mystery of the void century, of the erased history, and we will only learn the truth about them when we learn the truth about everything else.

imu's role in the story seems to be specifically to finally provide a direct antagonist to the overarching myth arc of the void century, the forgotten ancient kingdom, and the will of d; the imperial crimes of the world government, shoved endlessly under the rug. can you build a world-spanning kingdom on a lie? will it stand? for how long? there can be no such thing as an immortal empire no matter how much force you might use to make it so. you can't pin the sun in place in the sky.

while it's impossible to really guess this conflict is going to unfold given how much information we still don't have, my top three guesses for who will be primarily involved are robin (for obvious reasons; unraveling the truth of the void century is her dream, and imu stands directly in the way of that), vivi (also obvious; imu is targeting her directly), and law (both because his new goal is to unravel the meaning of the will of d and because it seems significant that imu is likely a previous recipient of the ope-ope no mi's immortality technique).

[canmom]

Comics mini-Comints: Dungeon Meshi

reread dungeon meshi through to the end. still such a great manga. here are immediate thoughts - if I end up having time and energy I hope I can write something that goes deeper!

ironically i was only a few chapters from the end when I stopped keeping up, but I was struggling to remember all the characters and context, so reading it through in one go was definitely an ideal way to achieve maximum impact there.

ryoko kui does a very elegant job of handling a transition from 'silly antics' to 'big dramatic fantasy' while still keeping the central thematic throughline - eating and being eaten, belonging to an ecosystem, the significance of sacrificing others to achieve your own desires. a lot of setups pay off in a way that feels meticulously planned - and of course the crux of the final showdown revolves around characters attempting to eat each other, of course the big payoff is a huge feast that symbolically unites all the conflicting factions. it is maybe a bit too neat and happy for my taste, but it's undeniably tightly executed - it never loses sight of what it's about. especially compared to something like Frieren, it's an incredibly coherent serialisation, up there with e.g. Fullmetal Alchemist.

kui's art style deserves all kinds of praise - it feels effortlessly simple, but it clearly communicates all sorts of different shapes and body types and it's really fun to see her play around with remixing the different visual elements when she switches the races around. in general Laius's autistic monster loving ways clearly reflect kui's own deeply felt appreciation for all the ways people and animals live (accentuated further by all the extra sketches the scanlators tuck in). in a way you could kinda call it like Parts Unknown the fantasy manga.

the stakes of the final conflict are interesting - there is much to be said about the framing of 'desire' and its fulfilment, of this occult idea of 'the infinite'. lots you could put in relation to other manga, and also buddhism. (in particular I really want to develop a comparison to Made In Abyss, there are so many parallels, it just might be too spicy for tumblr lmao).

one thing I really like about it is how much its fantasy dungeon-exploring setting owes to D&D and other TTRPGs, rather than videogames. monster ecology has been a fascination of that game since the early days of Dragon magazine, and Kui sharply zeroes in on some of the intrinsic conflicts baked in to that fantasy milieu, notably the lifespan thing, while smartly avoiding the traps of 'evil races'. there's some really fun nods to the weirder monster manual entries. and in a story with so many characters and factions, it does a genuinely incredible job of furnishing everyone with understandable, reasonable motivations, conflicts drawn from their context just like the monsters are explained by their ecology.

and one thing that I particularly appreciate is like... how much it is able to simultaneously understand and sympathise with a character and also show us how and why they'd rub others the wrong way. it's impossible not to like our main group, they're all such charming dorks and the manga leads you along with all the crazy rpg party shit they do, but at the same time you definitely find yourself thinking 'guy's got a point' in the kabru chapters lmao. I'm projecting hard bc i don't really know a thing about ryōko kui but laius def feels like the sort of depiction of having an autism that you can only do if you've lived it.

but yeah, it's a fuzzy ending where it all turns out well. but what's the deeper thrust of it all? there's a funny moment where marcille is like 'maybe in the end our journey is about learning to accept death' and the grouchy old gnome guy completely laughs this off as naive, because death doesn't mean anything. and indeed their big plan pays off, and falin does indeed come back just fine. but still, through all of this it asks you to bite the bullet that being a living creature means eating to survive, at the cost of other creatures, with the other side being that one day you too will be eaten. in contrast to this honest way of being is the beguiling fantasy of infinity, where all your desires are immediately fulfilled - this is shown as a dangerous path of corruption that produces madness and manipulability. having limits and rubbing up against the wishes of others, or 'doing things you don't want to do' as izutsumi's arc puts it, becomes necessary for having some kind of definition as a subject. the thing that makes the demon concrete as an entity is a desire, or appetite, that can't immediately be fulfilled.

of course we can connect this to the idea of narrative conflict. a standard advice for putting together a plot is to ask what each character wants and why they can't get it. wanting something implies movement. and indeed over the course of this story, we see that while having too many desires fulfilled too readily leads to incoherence and callousness, equally a character who is left catatonic as their desires have been eaten by the demon must be reawakened to activity by finding a new desire.

it's kinda Buddhist innit. neither the opulence of the palace nor asceticism. desires are what tie you to the world. but mixed with ecology: what a creature does to find the energy to live is what defines its lifestyle, its form.

this is probably where I'd start talking about entropy gradients and shit if i wasn't typing this on a phone at 1:30am lmao.

but yeah - it's a powerful move to go from 'D&D monster recipe show sendup' to 'living with the inherently violent nature of being an organism fated to live in a finite sum game' and yet Dungeon Meshi makes it feel natural and convincing, while remaining tremendously charming and funny throughout. ryōko kui is definitely some kind of genius, and I can't wait to see what her next act is gonna be. it's all definitely making me appreciate the act of eating a lot more.

next story on my plate is probably The Flower That Bloomed Nowhere, which sounds like it will present a very gnarly thematic contrast.

[lopposting]

The major question of the story that we are now asking:

Why, exactly, does Carlo never "wake up"?

[long post]

[Spoilers ahead]

Well, simply put - Because he is dead.

OK, that seems like too obvious an answer, but I'll elaborate, and bear with me here. I want to recap some elements first so you know where I'm coming from, but I'm also trying not to completely explain everything because that's way too hard and would be too long.

[Currently, we don't understand everything about the story or its meaning. Because of some of the shrouded nature of the lore and narrative, it leaves much mystery. But from viewing these questions and the story from a thematic standpoint, something unexpected and really cool happened. I found that the story and the lore opened up in reverse.]

The easiest way to explain the plot (in my opinion):

It was my impression that Geppetto never “started” the puppet frenzy. The puppets were NEVER breaking the grand covenant, interpretably they are protecting humans by stopping the spread of the petrification disease, it’s just that everyone in the city was infected by that point. 

Now with the puppets killing everybody in a city where everyone was infected (ergo being the result of the disease) Simon can go around harvesting all that ergo and Geppetto presumably plays him by letting Simon collect the Ergo first, and then sending P to kill him. [again, these details may not be completely accurate, but bear with me here]

Why create P in the first place?

He's made in Carlo's image so to speak because Geppetto hopes that Carlo's spirit will awaken. This is also why P is never bound to the covenant (it seems that not being bound to robot laws makes puppet egos awaken faster, since awakened puppets can break the grand covenant). So that is the two functions of P, to destroy puppets for ergo to harvest and so Carlo's consciousness can restore. I was just guessing that the arm of god was enough to get Carlo to revive, and Carlo's mental spirit reviving would be helpful but not entirely necessary. But for reasons we don't understand, Carlo never does regain consciousness.

Geppetto bitterly tells us that we don't seem to have inherited Carlo's memories. There is no big moment where Pinocchio or Pino or P reawakens, fully, as Carlo. He isn’t treated by the story as him. During the course of the game, P struggles to forge his own identity, to become a real boy, despite starting as a copy of the original. It’s a very fitting parable for the genre identity of a soulslike.

However, there are other successful re-incarnations of people through puppets, namely Sophia at the end of the Rise ending. We ask, for consistency's sake, why are puppet-form Romeo and puppet-form Sophia assumed to have retained their original identities, but not Pino? This is just my personal interpretation of why Carlo just couldn't or doesn't wake up. It isn't really based any lore or deduction from story details, this is from more of a philosophical point of view. And it isn't just the luck of the draw.

I had some initial thoughts about Carlo's failure. Romeo was made with intention of continuing to fight against the disease, as it's told that he "made a deal with the devil". Sophia may have been a special case, as she is a listener (Arlecchino even refers to her as the goddess in the tower), she may have had an ergo identity so strong that her essential self could retain this process. But either way, the implication is that Pino may have been able to recover her not long after that final fight. Look at the nameless puppet. The state of Carlo's body is so poor, that more than not his body seems to have been replaced with puppet parts. I think the implication was that Geppetto had been replacing parts as they rotted away. Maybe he had simply been dead for too long. But again, this isn't exactly why I think he couldn't awaken.

Simon and Geppetto

Lies has two main antagonists, although one isn't completely revealed until the last section. Both Simon and Geppetto are the perpetrators of Krat's destruction, but for what seems like different reasons. Simon is trying to be reborn, and Geppetto is trying to revive his dead son, Carlo. Interpretably, they are both trying to become Gods. Simon by grasping the supernatural, cosmic power of one, and Geppetto by raising the dead. They have destroyed Krat in their attempt to become a god, or more succinctly put, attempting to become God, singular. Geppetto's goal is, in essence, the same as Simon's goal - Because bringing back the dead would make him God.

That's why it seemed all so confusing. Haven't Geppetto and the alchemists already raised the dead, as Pino does at the end of the Rise ending with Sophia? Sophia, Romeo, and Carlo were all afflicted with the disease. Their Ergo were all made into puppets, but there's a minor but important distinction here. Sophia is still alive in her condition and actively suffering, this is the reason why she asks us to end her life. It seems as though Romeo lost his friend to the disease, and then made a "deal with the devil" to continue fighting, this implies being made into the king of puppets. We collected Sophia's ergo while she was alive, which we then used to animate the puppet. So the three of them were afflicted with the petrification disease. Sophia perished, Romeo perished, but Carlo died.

Now if we see the sand memories section of the beach, the stalker's words start to gain some clarity. If Carlo died from an incurable disease that the stalker couldn't prevent, why is she too late? Perhaps the goal was never to "save" Carlo's life. She laments; That she was too late, NOT to "save" him, but for him to be able to be restored. The stalker seemed to understand that whatever procedure needed to be done would be useless past the point of death.

I have to admit that there was something that I thought could override my theory. It seems as though the alchemists already were able to bring back both Champion Victor and The Eldest of the BRB, and from the dead no less. We read from notes in the Grand Exhibition that Victor had caught the disease, died to the despair of his adoring fans, but then miraculously made a comeback somehow stronger than ever. But maybe - he had only appeared to be brought back from the dead to the public, as Victor sought the help of the alchemists. And when it comes to the Eldest in the coffin, I'm wondering if he was actually only mortally wounded, leading the brotherhood to consult with the alchemists. [The way he was carried out by his brothers too (shouldered on either side) isn't typically the way you would expect people would handle a dead person]

Mirroring Sophia, Romeo, and Pinocchio, who were made into puppets: There is Champion Victor, The Eldest, and Nameless Puppet. We can see the former three as Geppetto's method of "cheating" God (cheating Death), and the latter three as alchemists' method. Only "Carlo" has a form in either one - The Nameless Puppet and the player, P. The Nameless puppet appears to share a similar undead quality with Victor and The Eldest of the BRB (including the tubes). We know that the collected Ergo can animate puppets, They are puppeting around their own dead bodies.

I feel like the Nameless Puppet tells us in a poetic way that Carlo is gone. My thoughts on this are more abstract. Again, this isn't from a factual analysis, but more of from viewing the Nameless Puppet itself as a metaphor. The Nameless puppet has qualities similar to the other undead bosses, yet the game doesn't describe it like it does Victor and the Eldest. It's not a body. It is a puppet [Human on the outside, mechanical on the inside - the inverse of our protagonist]. And straight in the text, we are told this is "The Nameless Puppet". But we know who Carlo was. His name was Carlo. We split open its head, and there are only cold, mechanical parts, instead of what we in the modern world now regard as the very most essential self (the brain). Because there was nothing to recover, there is no one there. Carlo's spirit had long, long since departed the world.

We are also told through one of the game's narrative devices that the Nameless puppet was the first puppet fitted with the organ. Ostensibly, Carlo's body was being prepared for whatever procedure that needed to take place, but Carlo died before that could happen (perhaps thankfully), and Geppetto pushed forward with his plans anyway, perhaps past the point of no return.

There are two forms of revival and we represent one of them, as in, there was the puppet form of Carlo and the undead form of Carlo. Presumably, the undead form was incredibly destructive, and thus stored away; We are the second try for Carlo's rebirth, this time in the puppet form, but we cannot even wake up without the aid of Sophia.

Lies, God, and the Finality of Death

But doesn't Geppetto actually succeed in one of the endings? Simon fails to become a god, (well, presumably only because we kill him in the process of doing so) and then we confront Geppetto. If we hand over our heart, Geppetto actually does revive Carlo. We see the resurrected Carlo, but with one simple smile we realize this isn't the Carlo the game has been leading us to believe existed. This ending leaves us with distrust and unease rather than a sense of peace and resolution. Simon fails to become a god, and at the bad ending - even if he "wins" - the game makes us wonder if So does Geppetto. No matter what, Carlo could NEVER be truly, and in both senses of the word, honestly, be revived.

[Simon Manus - like Simon Magus, the biblical figure who tries to buy into the supernatural power of God. And Geppetto, of course alluding to the 1883 italian novel The Adventures of Pinocchio - a puppet master, a creator indeed, but of wooden imitations of life, and a poor imitation of God]

So, why I think Carlo could not wake up? Because whatever needed to happen could not be done after the actual point of death, and Sophia and Romeo's hearts were both transferred before they actually died. His spirit had long gone from this world. Krat has methods of eternal life, but these transfers happened while they were still alive. While the alchemists and Geppetto could certainly cheat death (as we maybe even would with modern day medicine), they could not defeat it. Carlo can no longer wake up, Carlo can never wake up again, because he is dead.

[gettheglambulance]

Commission Me

-----------------------------------------

This is concept art for a fake Sonic game/comic starring Amy and Reaper Metal Sonic! I'm calling him Death Metal because honestly guys it's right there.

*I don't intend on producing this as a fangame at this point in time*

--------------------

PREMISE:

After years of asking and waiting, Amy's finally got Sonic to date her. However, their relationship has been on the rocks as of late. What's going to happen to them? Weren't they supposed to be soul mates? After all she worked for, could their relationship really just end like that? She hoped not. Looking for answers, Amy decides to do a card reading. What she ends up pulling is none other than...

DEATH!

Death... It signified an ending... Seriously?! Out of every card she could have pulled? There's no way fate was telling her to break it off! Angrily, she snatches the card and begins to rip it in half. tear... tear...

RIP—FWOOSH!

A dark, cloudy being emerges from the destroyed tarot. It's wearing an awfully scary skull mask and... oh no! Is it stealing the souls of her friends? Wait, it's got her beloved Sonic!

Looks like Amy unintentionally unleashed Death himself. Like, the real one. Now she's off on a new adventure to save her friends!

I think there would be a mechanic where Amy uses magic tarot cards to cast spells and change her fate.

Thematically, the story would focus on what you can vs can't change about your life and would read kind of like a fable. Amy has the power to help her friends and return their souls to their bodies, but she can't change the outcome of her relationship with Sonic. She saves Sonic in the end, but they still break up. It’s good to take charge of your life, but there are some things that are simply out of our grasps; there’s no use in getting upset over it because there’s nothing you can do in the first place. Honestly, this is kind of a messy work in progress because thematically this would imply that you can escape death, but yeah

This would also sit in a noncanonical storybook space like Sonic and the Secret Rings.

[desidov]

The Structure of a Successful Game Changer pt. 1 - Make Some Noise

An analysis of the stages comprising an entertaining and innovative Game Changer episode, explained by breaking down the episode Make Some Noise.

Stage 1: Our contestants have no idea

With prompt "cow," Josh responds "cow." Sam replies, "I'm sorry, that is not the answer I was looking for."

Often only a turn or two, this first stage is comprised of the players identifying the core mechanic of the episode—getting a basic understanding of what each question will ask of them and how they might earn points or advance further. Other examples: the first forays into navigating the Jeopardy board, or Sam’s opening instructions for “Sam Says” demonstrating an instruction not preceded by “Sam says” should not be followed.

Stage 2: You all understand

With prompt "duck," Zac responds "quack quack" and receives a point. Josh comments "Okay I see, I see what this is about, okay."

Here the players realize the structure of each question, and witness some behaviors receiving points while others do not (excluding non-point-earning episodes.) Sometimes, this is all the players need to understand the fundamental premise (mimic the sound produced by the prompt) while sometimes unraveling the mystery of the premise is the overall conceit of the episode (tell us about yourself, yes or no.)

Stage 3: Escalation of Rules

After Zac's response to "frog," Sam says "I'm gonna toss it up to the other two contestants [to steal the point.] Brennan, give me your best frog."

An expansion to the initial rules is revealed, allowing players to further advance/gain points beyond the initial bounds of the premise. Here, the escalation is that players may steal prompts from each other—others include incorporated phrase bonus points from The Official Cast Recording and the hidden immunity loop-de-loops from Survivor.

Stage π: Departure

Sam says "We are now headed into our first mini game." Each player attempts to recreate a melody on an otamatone.

This optional stage, typically presented as a “mini game,” is thematically connected to the premise but operates on its own rules. Make Some Noise iterations typically include a mini game where contestants are provided a prop and must mimic a given sound with that prop—no spoken entries qualify. Similarly, A Sponsored Episode and its continuations feature a mini game of providing commercial voice-overs for stock footage (where non-commercial interpretations are not rewarded,) and a mini game of identifying brand taglines/logos.

Stage 4: Escalation of Concept

Sam introduces the next prompt, "Your word is jack hammer." Josh makes a jack hammer sound, bouncing with a hand above his head and explaining "that's him keeping the hat on."

While Stage 3 adds on to the rules of the episode, Stage 4 applies the same rules to something new—here transitioning from animal calls to all manner of sound effects. Escalation of concept can be clearly demarcated, as this example is, or more gradual, like the escalations from common animal calls to obscure animal calls or from physical prompts to intangible prompts like “anguish.” What matters is that escalations continue to push the format to new heights and prevent the conceit from stagnating.

Stage 5: Expansion of Concept

The prompt is a stock photo of a smiling young adult white man. Brennan roleplays the man arrogantly describing his improv group, ending with "This date's going well."

Though similar to Stage 4, I characterize this stage as a dramatic alteration to the format of prompts—here from text prompts to image prompts. This can be for several turns, as it is for MSN, or just one, such as “go” from Sam Says or the cockroach union from “Do I hear $1?” This builds a finale that presses the bounds of the format to their limits, capping off the episode.

[kscheibles]

fall rendezvous (college bf! au)

content warnings: f! reader, fluff, smut, unprotected p in v sex, oral sex f! receiving

word count: 2.2k

The crisp morning air bites at your nose as you walk across campus after your 8 a.m. discussion class. You’re not used to New England weather; the chilly air causes your nose to run even when you’re bundled up in sweatshirts and coats as you are now. Matty makes fun of you every time, but his actions betray his true feelings. He always takes the opportunity to hold your hands in his and breathe hot air onto them. He likes being your solace. Your comfort.

As a matter of fact, that’s what you need him for now. Chase, the obnoxious legacy student in your Art History section, was insistent on devaluing the thematic interests of indigenous artists. Unfortunately, you’d had to take matters into your own hands when the TA looked as if it was too early for her to put a stop to his bullshit for the third time this semester. You’d ripped him a new one, but as a result, you were now simultaneously riled up, tired, and in need of a comforting hug from your boyfriend. You lug your book bag across the quad, texting Matty when you’re finally near his dorm.

You wait a few moments at the door, still reeling. As soon as the door swings open, revealing Matty’s crooked, slept-on curls and perfect, knowing smile, you can feel the anxiety in your body ease up. You run into him, almost knocking him off his feet as his arms come around to envelop you. The smell of his cologne and detergent and sleep fill your nose and seep into your brain, relaxing you like a drug. It’s instant with him. He gets into your bloodstream. 

“Mornin’ darlin’,” he mumbles into your ear. You smile into his navy hoodie, looking up into his sleepy eyes.

“Mornin’,” you coo. Matty grabs your hand and leads you up the stairs, unlocking his door and letting you in. You’re greeted by the smell of fresh coffee. Matty goes over to the coffee pot and pours you a mug as you toss your bookbag on the floor and take your shoes and socks off. You survey the place, taking inventory of the two beds, one belonging to his roommate, Ross, who has a 9 a.m. lab. He won’t be back for hours, bless him. Matty’s bed is at a different height than usual. He’s lowered it a bit, for god knows what reason. You chalk it up to a manic ADHD episode where he decided he had to rearrange his room in order to do his homework properly – you know this kind of thing isn’t uncommon for him. You love the ways in which his brain is different from yours. He sees and gets excited by things you never could and you admire him endlessly for it.

“What’s with the bed?” you ask as Matty passes you a mug of steaming coffee. You take another whiff – hazelnut, he must have gotten a new blend to mark the beginning of fall – before sipping on it, feeling it ground you back to reality. Matty quirks his eyebrows playfully, smirking as he does. 

“Well I wanted to try something actually,” he starts, cozying up to your side and resting his chin on the top of your head. “You know we were having all that trouble last week when I was trying to fuck you standing up?” 

Your head snaps around and you meet his eyes, smiling. What a boy, you think. 

“Anyways, I couldn’t stop thinking about it the other night while I was waiting for Ross to come back from the library so we could play Mortal Kombat so I crushed a Red Bull and adjusted the bed to be just a bit lower than my hips.”

You put your coffee down on his messy bookshelves filled with mythology volumes, dogeared paperback copies of Kafka, and plastic video game cases. You bring your arms up around his neck and kiss him softly on the mouth. 

“I suppose you wanna try it out then?” you ask, teasingly. Matty moans into your mouth and walks you back towards the bed until your thighs hit the mattress. You fall down onto your back and Matty’s instantly undoing the button of your jeans, pulling your pants and underwear off in one fell swoop. His head falls between your legs instantly, kissing your inner thighs, lifting your legs over his shoulders, and then licking you from your hole to your clit. 

You whimper at the contact. He’s so warm and wet and good. You squirm under his tongue, instinctively looking for friction. You swear you can feel his lips curl into a smile around your clit as you begin to buck senselessly, arrhythmically into his mouth. He captures your clit in his mouth, sucking at it devotedly as his left hand comes around to pin you down to the bed by your hips.

“God, you make me feel so good,” you moan as his fingers begin to swipe listlessly at your entrance. His head leaves your body long enough for you to read the need in his eyes. His pupils are completely blown out, lips glistening with your pleasure. “I love you,” you breathe. It’s the only thing you can think when you see the picture between your thighs: your sweet boy on his knees, cozy in his hoodie, and looking up at you for reassurance that he’s eating you right, even though he’s done it a hundred times before. He bends down, kissing your lower tummy tenderly.

“I love you, too,” he smiles up at you, “Can I fuck you now, sweet girl?”

You nod, intoxicated with pleasure and grinning. Faintly, you hear his clothes shuffling as he rids himself of his sweatpants and underwear, pumping himself a couple of times to be sure he’s ready for you. You hear the condom wrapper crinkling. Then you feel him, sinking inside you slowly. You feel dizzy despite having your eyes closed. Matty folds your knees into you and begins to push in and out of you slowly, rocking you into ecstasy. With your feet to the sky, you start to feel the chilly autumn air seep into you through your extremities and into your core, distracting and uncomfortable.

“Matty, I’m cold,” you whine, grabbing at your feet to warm them up. Leave it to your university to skimp on heating during the freezing Connecticut fall. 

“Oh fuck,” he mutters, pulling out of you briefly, “Can you stand up a minute, darling?” You do, hissing as your feet hit the cold, ground, and watching him dumbly as he unmakes his bed, fluffing his comforter up and holding in his arms. He wraps it delicately around your shoulders, holding you to him in a hug that feels like complete and utter safety. “You wanna lay back down?” he whispers into your hair. You nod and Matty helps you back onto the bed. You slowly lean back until your spine hits the mattress and plant your feet back on the flat surface. He notices before even you do, “Your feet still look cold, are you okay?”

You look down at them, realizing only now that they’ve gone completely numb. You meet Matty’s eyes bashfully. “Will I still be hot enough to fuck if you lend me a pair of fuzzy socks?”

Matty blushes and nods, kissing you sweetly on the forehead. “Always,” he assures you before padding over to his chest of drawers and finding a pair of wool socks to don you with. He puts them on you himself, rubbing your toes through the thick material to bring the weight back into your body. 

“I feel like Cinderella,” you quip. 

“You are,” Matty smiles, your feet still in his hands, “My perfect princess.”

“Okay don’t get too into my feet now,” you giggle and Matty drops them immediately.

“You’re right,” he turns fake serious all of a sudden, “Don’t even know how I was paying attention to them when you’re all spread out for me right here.”

You smile sweetly as he buries himself in you again, savoring that perfect, holy meeting that makes you see stars every time.

Your mouth falls open and your brows furrow inadvertently as you feel Matty fill you up. He touches every part of you, holding on to your tits and legs and anything else he can get his hands on as he begins to fuck you in earnest. He’s losing himself, grasping at any straw of reality that could keep him grounded. Your hand comes around to encircle the wrist of his hand that's bruising your right breast. You whine with each snap of his hips into yours but still manage to get his attention and talk him through it. 

“I’m right here, Matty,” you say, “I’m yours. Making me feel so good, baby.” His eyes meet yours, black with desire. Matty’s confided in you that he has a tendency to dissociate a little during sex. It helps when you touch different parts of him, stimulate him in new ways so that he stays present, and when you speak to him so he can remember that he’s doing it for you, too. He appreciates how seriously you take it and loves you even more in the moments he can tell you’re trying to care for him. 

Matty’s hand moves from your breast down to where his body meets yours, trapping your clit between his fingers and rubbing you in tandem with his thrusts. It causes another wanton cry to escape your lips.

“Please stay just like that,” you beg, “Please, please, I’m so close baby.” He nods, sweaty curls sticking to his forehead as he drags your body impossibly closer to his own. 

“Being so fucking good for me baby,” he manages, “Such a good girl. You’re for me.”

“All for you, baby,” you repeat, “I’m so fucking lucky you make me feel so good.”

“Gonna make you cum, baby. Can I?” he asks, leaning over you even further, chasing both of your orgasms. Your head falls back into the bed as he does. Like a marionette with her strings cut, your head bobs uselessly against the navy sheets as Matty rubs you and fucks you faster.

“I’m almost there,” you warn, “Stay just like that. Please, please.” You’re not even sure what you’re begging for anymore. Your brain is too far gone to be rational. You tense up as you feel your orgasm creeping up on you. 

“Relax for me,” you hear Matty’s voice in your ear, “It’s gonna feel a lot better if you relax, baby.”

You do. Instantly, you feel the band of pressure in your stomach snap as your orgasm washes over you from head to toe. You can feel yourself pulsing around Matty’s dick, over and over, beginning to feel overstimulated as he continues his assault on your used cunt. You swat tiredly at his hand on your clit. He moves it to your hip, holding on to you for dear life.

“Just another second baby,” he breathes, “You can be a good girl and take it a little while longer, yeah?” You nod uncontrollably, blissed out and needy. You need him to cum, need him to feel as good as you do. 

“Please, Matty, need you to cum inside me.” Matty slows to a stop above you, panting.

Matty falls onto your chest, bent over at the hips, panting into the duvet that cocoons you. Your hand meets his curls immediately, holding tight to what you couldn’t reach moments ago. You push his hair back from where it’s fallen onto his forehead, revealing his flushed face. Your thumbs ghost over his perfect cheekbones. You stay there, present for him, as he comes down, smiling at him when he finally meets your eyes. 

“Hi,” you muse.

“Hi,” he pants, letting his head touch the comforter again and pulling out of you. Your hands fly to his shoulders, brows furrowing as you try to still him. “Shhhh, baby, just a second,” he coos, standing up and tying the condom off before chucking it god knows where. He unwraps you and pulls the covers over the both of you as he nestles back into the comically small bed. He kisses the crown of your head when you find your way into the crook of his shoulder. 

“Thank you, I love you,” you say into his chest. 

“You too, baby,” he whispers, “Always look out for me you’re so good to me baby.” 

You lean up to kiss him, warm and sweet and soft. 

“This bed is really small,” you laugh into his mouth.

“That’s why I had to fold you up to fit,” he quips in return. 

“Will you take me to get a coffee, then? I think the one you made has gone cold.”

“Sure, baby,” he says, rubbing your bicep when you spring off the bed to get dressed. Matty gets up too, scrounging for his long discarded clothes. 

He chucks his blue Nike hoodie at you. “I know you were planning to steal that anyway.” You smile, shucking it on over your sweater. As you bend over to put your shoes on, Matty comes up behind you steadying you as you wobble with only one shoe on. You use his shoulders to steady yourself. He leans in, kissing you slowly and unhurriedly like he could do it all day.

“You ready to brave the cold?” he teases. 

“If I’m with you,” you pout. He giggles, pressing a kiss to the crown of your head and looping his arm around your neck.

“Come on then, baby,” he beams, “I’ll keep you warm.”

[paper-mario-wiki]

can i ask why the very formal font choice with GirlHud? fucking love the work you're doing with it

cuz it clashes with tf2's aesthetic.

the default hud is very good at keeping a firm thematic connection to the video game's world.

girlhud is made so that girls can finally play the boy game without getting boy cooties. to do this you have to be sure you dont get too close to the other characters (mostly boys), and to do THAT you gotta disconnect the world from the hud. simple.

[rabbiteclair]

game development sims are about envisioning a better world where the hit games this year are

Bonchy Boy VIII, the latest entry in the most critically acclaimed RPG series of all time, which is apparently about dwarves in a religious war, and definitely was not supposed to be this universe's equivalent of Final Fantasy or I would have named the first entry something better than fucking Bonchy Boy

Carred and Feathered 6: 2 Whiskey 2 Risky, the latest entry in the most critically acclaimed racing series of all time, which promotes irresponsible alcohol consumption habits (and spiritual sequel to the fourth installment, Carred and Feathered 4: Risky Whiskey)

Skeletons of France: Tibias in Tibet, the fourth entry in the Skeletons of France fighting game series which is apparently about French skeletons going around the world getting into fights (with other skeletons presumably). also highly respected but it's frankly a cash grab where the skeletons just go to whatever area is thematically popular with consumers at the moment

Who The Fuck Asked For This? the building sim that started out as me making Minecraft as a joke and I just kept having to make joking 'haha lol who would play a game about mining and crafting, that's a wild concept' titles for the sequels

and of course Kissaroo From Me 2 U, the sequel to the visual novel Angel Kissaroos which was so impactful that it made angel-themed visual novels the major video game fad for like two years in the late 2010s

[littleprince612]

Lies of P - ENDING EXPLAINED, THEMES & FAQ

MAJOR SPOILERS MAJOR SPOILERS ENDING SPOILERS UNDER THE CUT

By the way, this is not a lore analysis at all, this is a discussion on the thematic ideas in the story, and I refer to the player character interchangeably as "we" or P/Pinocchio. This is also all just my personal interpretations on the story, and is subject to inaccuracy.

Please enjoy my spark notes-esque analysis on Pinocchio souls!!

Was Carlo evil?

My answer is no. This is a bit complex, so I’ll try to answer within two questions.

In one of the endings, P surrenders his heart and Geppetto then uses it to revive Carlo, his biological son. Carlo then ends up killing everyone in the hotel if we choose to "save" him. He steps out into the rain, looks at Geppetto, and smiles (something that P doesn’t do), seemingly confirming his newly found humanity.

This does seem like a happy ending at first, doesn't it? By submitting to him, We/Carlo may win the purely conditional love of our father, but this comes at a cost. He has surrendered a part of himself in obedience. He no longer has any agency. Thereby making him a puppet in the ideological sense:

The game has a meaningful mechanic where our hair will grow during the duration of the game. Carlo's presented with short hair, but he's also wearing the same outfit (white blouse) we had in the train station; This is the version of ourselves from the beginning of the game. Like showing all that development we made is now gone for submitting to our father, we're right back to where we started, even as a "real boy”: a non-realized being who is at the call of someone else, a (Gasp!) puppet.

Why does Geppetto sacrifice himself instead of calling the attack off?

Let’s say instead of giving away the heart, we refuse. Geppetto, disappointed, then opens the suitcase he’s been carrying since the first trailer. He reveals the unnamed puppet boss, raises up the unnamed puppet on strings, and attempts to take the heart by force. 

If you survive the first phase of the fight, P is able to slice the top his head off. There's then an animation of the "strings" around the nameless puppet being cut, becoming more ethereal.

The fight goes on as it does, and then something strange happens. The nameless puppet seemingly defies Geppetto, and nonsensically attacks the heart Geppetto so needs in the first place, at which point he is so desperate for Carlo's revival that he dives in front of us.

Geppetto asks, shocked, "Were you trying to destroy Carlo's heart?"

What’s in the box?

Geppetto opens the suitcase we’ve seen him carrying since the first trailer, and raises up the nameless puppet. In the other ending, we can see that the body in the suitcase is indeed Carlo. 

I think that Carlo/Nameless puppet regained some amount of sentience after being damaged. After the "real boy ending", Geppetto has him kill the rest of the people in Hotel Krat. Carlo being revived would mean Geppetto still has absolute control over his son. 

Short answer: He lost control of the puppet in the second phase and it either sabotaged him or acted purely of its own accord to end the fight. I think the implication was that even Carlo knew being brought back was a bad idea. Damn :(

[note: people online have pointed out: It’s implied that Geppetto seems to have heavily neglected Carlo, and Carlo may have hated Geppetto in reality ("I don't care if an old man like that kicks the bucket!"). This reinforces the idea that the Carlo we see at the end is just a pawn.]

Is Pinocchio = Carlo?

I think this is one of the more interesting points. This is either ambiguous or left unresolved by the game; but I think it's probably true that Pinocchio and Carlo are virtually the same person. If Geppetto had just accepted our/P's decision not to surrender the heart, he may have still gotten the son back that he always wanted anyway. But for all intents and purposes, the game seems to answer that it doesn't matter. Antonia's final letter to us rather profoundly chooses not to answer the question.

Why Antonia is a real one

This is Antonia's final message to us, contrasted with Geppetto's role with us as a parent in our final battle. [emphasis mine]

To the wonderful gentleman who gave my precious time back to me, That time I met you was light itself. Whether you're that child or not, I think you're a kind, precious child. Thank you for giving my joy back to me in my last moments. To the young gentleman who resembles Carlo, Antonia Cerasani

[Remember, these are Antonia and Geppetto’s respective last words to us]

To be very fair, Geppetto was Carlo's actual parent; Antonia was not. But this seems to contrast with Geppetto asserting to us during the final boss sequence that we are just a puppet. The word "precious" is also very particular, as it's a word that Geppetto uses to refer to us near constantly ("Always remember that you're precious to me"/"it pains me to send someone so precious into such peril"). But while it could be read that we are only precious to him for ulterior reasons (because we carry the organ needed to revive Carlo), Antonia asserts that we are precious regardless. I see that as a truer, non-possessive love.

[also: Carlo's eyes are very noticeably brown (also seen in the painting), Our/P’s eyes are blue. Eyes, nearly always, have quite the symbolism! "The window to the soul", remember? While P and Carlo may have had a near-identical shell, I think this might be the game telling us that P and Carlo weren't truly the same. ]

Who’s a good boy?

Geppetto calls us "good boy" quite a lot. It's been fun watching various streams of this game, and whenever Geppetto calls us a "Good boy", I remember the chatroom filling up with messages of disgust, like: Good boy has real "Would you kindly" vibes! and: I squint my eyes at him every time he calls us a good boy like a dog.

It really reminds me of Mother Gothel! When Mother Gothel calls Rapunzel "pet" and consistently dresses her in undersized dresses, she's infantilizing Rapunzel to take away her agency. Cleverly, each time she tells Rapunzel she loves her, she seems to be directing that love to her hair! She's also constantly touching and caressing it. She isn't interested in Rapunzel as a person, but in the functional idea of her. Geppetto also expresses discomfort seeing us age (our hair growing), in contrast to Sophia's honest and enthusiastic interest. It's symbolic of his disdain towards our growing self-autonomy (growth into an adult).

[Even in the last hug with P, it’s a basically a ruse to grab the heart, and he never gives P a second look when he collapses for dead on the floor.]

[To be somewhat sympathetic to Bad Dad Giuseppe (I'm not defending him), it's also probably because we are now growing past the age that Carlo died. Essentially, we're starting to outlive him, and Geppetto has to witness the growing that Carlo never got to reach. That's got to be hard to bear.]

What does P actually stand for? P stands for Puppet, Not Pinocchio

People have noticed since the demo that we are never actually, explicitly referred to as "Pinocchio". The NPCs seem to dodge around saying "Pinocchio", opting for words “like Geppetto's puppet" or “child” instead. Given the story's inspiration and the game's title, however, it could be inferred that our name is Pinocchio. Why not just call us by name? 

Well, the doylist interpretation is that maybe they just didn't want to stir up some kind of trademark trouble with a certain Walter Mouse. But the game does something clever with this, lore-wise. After our "betrayal" at the hands of our father, I think the big reveal is simply that we are unnamed. Giuseppe gave us no name, showing he didn't view us as a true autonomous being.

Why does Geppetto apologize in the alternate "good ending"?

Both the endings are near identical, but when Geppetto is beginning to curse Pino, he apologizes instead. The beginning of the end cutscene is the same as the second “good ending”, where Geppetto tells us that we’re “just a useless puppet”. He's beginning to say this, except for when he sees the tear fall, at which point he seems to relent.

I think it's supposed to imply, seeing Pinocchio seemingly mourning for him, that in the very last moment Geppetto understood that either 1. Pinocchio was truly Carlo or 2. that he was sentient enough to be his tangible son anyway.

Is Pinocchio still alive? (+ Collodi's journey to Adulthood)

I think so!

If you've taken certain paths, you unlock the third ending, which is like the second ending, except with an additional scene where we can see P returning to the Alchemist's tower to look at a peaceful Krat. P then uses the ergo from Sophia into a puppet replica, at which point he collapses, seemingly from exhaustion. Sophia cradles him as he sleeps and serenely tells us it's good to see us again.

In the book, Pinocchio, after travailing to support both his ailing father and the sick blue fairy, falls asleep and dreams that he is visited by the blue fairy. The fairy, now whole and healed, tells him he hasn't been the best son, but that boys who support their parents are "deserving of great praise". When he wakes, he is a human boy, and his puppet form lies lifeless on a chair. It isn't Pinocchio showing pure obedience that makes him into a real boy, but the selfless act of caring for his father (the reversal of the parent-child structure). In my interpretation - her final message is this: That he was never perfect, (and perhaps he would never be perfect), but the bottom line was that he loved his father, and that was enough to make him human. [I think there's something in my eye!]

(Easter - The Resurrection of Christ, Rebirth, Death and renewal, Spring) 

In case you don't know (I didn't btw), the statue in the Exhibition is actually Michelangelo's La Pieta. Its inclusion in the game not only alludes to the novel's Italian origins, but also serves as a central visual motif as it's representing Jesus's death in the arms of Mary. This visual motif is revisited by P and Sophia at the end of the game in the “true” (canonical) ending. Symbolically, In the selfless act of reviving Sophia and at the end of his journey, he has transcended and broken the "egg shell of his puppet body" into a true adult (a human being). 

Does lying make us human?

At the centre of Collodi's Pinocchio is a father-son relationship wherein underlies an unconditional love. But this game has quite the different father-son relationship. When puppets are made, they are meant to follow under the laws of the Grand Covenant, and our father is the father of all puppets. Namely, each time we lie, this is in defiance of our father figure. Remember, the rule is that a puppet cannot lie. Lying doesn't have the connotation it has in the book or in popular culture adaptations of Pinocchio. Rather, lying in the game seems to infer choice and not deception.

It isn't just the act of disobedience (Self-agency) that gives us our autonomy ("A man chooses", mirroring Bioshock), In many cases in the story, we are asked if it’s better to comfort someone with a lie than telling them a truth that maybe wouldn’t serve them. In that way, you can also view lying as the selfless act of taking a burden.

Again, this adapts Collodi's psychological ideas in the book on the growth of the self-interested nature of the hedonistic, narcissistic child into the empathetic "adult" that works to serve others. [I know I might come across as harsh here, but bear with me, I’m just trying to speak in literary terms.] But while Collodi's Pinocchio focuses on the selfless nature of a parent, Lies of P focuses on the self-agency of an adult. 

So why is Lies of P so dead serious about Pinocchio? Well, it's an elaborate metaphor for self-autonomy.

In Conclusion…

Does Lies of P have an identity issue in of itself? Great soulslike? PuppetBorne 2.0? But it's also a beautifully rendered Pinocchio adaption. Quite unusual, perhaps, but there's a quote that bizarrely enough comes to mind when I think of the audacity of a Pinocchio themed soulslike - Talent is hitting the target nobody else can hit, while genius is hitting the target nobody else can see. I think there is a reason why the tale of Pinocchio persists and persists.

[lipstickchainsaw]

Oh, for the stp questions, what do you think of the thorn? She is my favourite 🫶🫶

I think the Witch > Thorn route is probably my favourite, and most thematically coherent/meaty? Some Chapter 3 Princesses' are just their Chapter 2 version but More (like the Eye of the Needle, arguably the Den), but the Thorn really does stand out as a more fleshed out narrative, with more depth.

To get into the route, you have to either cheat the first choice (first going down without the Pristine Blade to lock the Princess into her more 'harmless' version before going back up grab the Blade and slay her), or take the first opportunity to stab her once her back is turned (yes, the Narrator is pushing you to do it, or you've locked yourself out of resisting because you already played the Damsel, but from her perspective, that doesn't make a difference). To build on what I said in my essay on the Pristine Blade, the simple fact that you have access to the Blade influences the dynamic between you and the Princess (corrupts it, really).

In either case, you really do betray her trust, and this hurts her considerably more than the arm torn/cut off, or whatever cuts you leave on her otherwise, because the violence she can immediately repay with her own. It's the hurt, the knowledge that she trusted you with her vulnerability and you took advantage of it, that she can't resolve, and this is, naturally, what the next chapter is about.

I'm not wholly sure why she's called the Witch, because she does surprisingly few things we might associate with witches.

Regardless, going in, you're joined by the Voice of the Opportunist, whose entire shtick is looking for ways to eke out short-term advantages without a care for any long-term concerns. In short, this fucker will defect in the prisoner dilemma after telling you he's going to cooperate, honest, and then be surprised you don't trust him in the second iteration, because he's on your side this time, he promises!

And this is how the Witch sees you, the Protagonist, because that's what these voices represent, and she sees her only defense against your backstabbing ways is to... be that exact same thing. To also keep her cards close to her chest, and jump at whatever first opportunity she gets to get one over on you (this is what she does if you turn your back on her in this route, even at the cost of her own life, the Scorpion and Frog/Farmer and Viper parallels are explicitly mentioned in the achievement). She's been hurt, and the only way she can avoid being hurt again, is to hurt you first.

The main difference between you and her, of course, is that you have the Blade, the power in this situation (yes, she did kill you last time, but that's hardly what matters here), and acknowledging this is the key to getting to the Thorn.

Because you have to give it up! You have to give the Blade to her, by way of apology, putting your trust in someone you know has no reason to like you and every reason to hurt you, and you have to put yourself at her mercy. Let her use that power against you like you did against her.

And the Witch doesn't understand why you do it! Why would you give up the upper hand when you have it? She wouldn't, after all. So she's suspicious, and she doesn't know what you're doing, but she remembers the hurt, and whatever game you're playing, she can now hurt you before you hurt her, so she takes the opportunity to kill you and immediately proves that hurting you doesn't stop her from being hurt either.

She asks you why you let her do that to her, because hurting you didn't resolve the dissonance between what she thought you were like and what you actually did. Hurting you doesn't suddenly bring your plan into clarity, and it leaves her incredibly confused.

But I think she asks herself another question, quietly, without quite being willing to acknowledge it to herself:

'Why would I do that?'

And this finally brings us to the Thorn (sorry for taking so long to actually get to her, anon, but I can't help myself). Some time has passed between the end of the Witch and now, and she had been plagued with those questions, with thinking of who she is, what she wants to be, and how to deal with the hurt while she tries really hard to figure out if she can actually trust you or not.

This is why the first question she asks you is if you're there to laugh at her. She thinks she might have seen your play (and she can be correct if you do decide to laugh at her! The achievement being called 'Past Life Gambit' is very fitting. You get a ton of opportunities to be cruel to her here and validate her distrust!), and when you say you're not, she's just... lost.

The thorns around are neat, because the degree to which this betrayal has hurt her also causes her to hurt herself. The thorns are pointed inward. You can get in, but you can't get out, and neither can she! This distrust within her is literally digging into her own skin, and even though she has the Blade, has the power in this situation, she cannot use it to resolve this situation for herself. She's going to need you, but if she gives you that power, how can she possibly know you're not just going to hurt her again? How does she know you're not going to make the same decision she did? How can she make the decision you did last time, when she doesn't understand why you did it?

And these fears are not unjustified! For all that the Opportunist is in favour of schmoozing up to the Thorn, the moment she gives up the Blade, he turns into the Witch again, immediately suggesting the very choice that resulted in the very misery the Thorn is now struggling with (because the Opportunist is kind of an asshole). Even though you both know you need each other to get out of this mess long-term, actually doing that when you've both stabbed each other in the back previously is not easy, and giving in to those short-term impulses is so very tempting. How do the Scorpion and the Frog not kill one another?

And this provokes big argument in your own mind, too, long enough the Thorn gets worried she fucked up by giving you the Blade in this anxious way that doesn't understand why you haven't made either decision yet.

Fortunately, the Opportunist is joined by the Smitten at this point (and I think this is a bit of a redemption for the Smitten compared to the Damsel route, but that's a matter for another post), and he argues very passionately (because whenever does he not) in favour of the beauty of trust and cooperation and love!

And so by sharing your power and using it with care (the Narrator even tries to make you slip, but the Smitten says no), you resolve the pain at the heart of the Thorn, and finally make it clear that you do deserve her trust as she deserves yours, and you get arguably the best ending of a single run.

Of the Third Chapter Princesses, I think the Thorn stands out in becoming more... human compared to her previous, rather than less. It adds a lot of depth to her narrative, and makes the resulting romance feel more real than the other options.

And of the potential Witch follow-ups, I think the Thorn is a more interesting resolution than the Wild, because the Wild is more about burying the resentment and pain and pretend none of it happened and you're united as one, whereas the Thorn sees you actually resolve your differences and develop a more healthy relationship in the wake of it.

And you teach the Opportunist the value of long-term thinking, which is neat.

Also, you get the only kiss in the game on this route, so that's also fun.

In short, yeah, fantastic route, interesting and nuanced Princess, wonderful resolution.

[flanaganfilm]

Hey Mike! First off, it makes me so happy to see you out there fighting with your writer friends to ensure they receive a decent living wage for the amazing work that they do.

As for my question, I would love to hear about some of the inspiration for making Before I Wake. It and Absentia were the last two of your films that I watched, and BIW just absolutely destroyed me. No other movie, including and especially a horror flick, has ever made me bawl like a baby like that. The entire tone of the film is so spot-on, and the climax of the nightmare monster “dissolving” from its evil form after being embraced…. To me that scene just perfectly encapsulates what it’s like to be a parent, and human; sometimes we just need someone to hold us and let us know things will be all right. We spend so much of our time making sure that our children feel loved and cared for, that sometimes we forget about ourselves. And you just fucking nailed it, my dude.

Like I said, I would LOVE to read any backstory or inspiration that you have for this film! It’s so beautiful and underrated.

On the WGA front, don't be too impressed with me - I mean, I'm a professional writer, I've been a member of the WGA since Absentia, so I'm out there fighting for myself as much as everyone else.

But on the Before I Wake front, you know I very rarely get asked to talk about this one, so I'm happy to... fair warning for another long post!

Before I Wake was originally titled Somnia, which is latin for "dreams." It was part of an unofficial trilogy of sorts, comprised of Absentia, Oculus and Somnia. All three of those movies were meant to work together as a thematic triptych.

Ultimately, Before I Wake was brutally sabotaged by its own studio, who drastically undermined it creatively and then destroyed any hope of a meaningful release. It remains a particularly heartbreaking chapter of my career... but a film I have and will always have tremendous affection for.

A lot of people think that Somnia was made after Hush and Ouija: Origin of Evil, just before Gerald's Game, but this is entirely incorrect. It was actually the second "real" movie I ever made, and was actually shot before Oculus was even released.

The basic premise of Somnia focused around a little boy whose dreams manifested physically in the world around him, and was an original concept I carried around for a few years before Oculus got picked up by Intrepid Pictures. In fact, I've talked about my first meeting at Intrepid, where I pitched a few ideas that were rejected... Somnia was the first one I pitched. Trevor Macy opted to pursue Oculus that day, but he ended up producing Somnia right after.

This unofficial "latin trilogy" seemed to fit together well. Absentia was a somber and bleak look at the loss of hope, Oculus was more thrilling dive into the labyrinth of past trauma, and Somnia was meant to take that loss and trauma and end the triptych on a note of hope and healing.

In fact, the script for Somnia was written before Oculus was greenlit. On the page, it was my favorite of the three. I was very taken with the story of little Cody and his personal boogeyman, and of the revelation at the end of the story... that with understanding, even the most monstrous of our fears can lose their destructive power.

Cody's birth mother had died of cancer, and he had seen her just before her death. That final image of her, as well as a misunderstanding about the pronunciation of the word "cancer" had led to the creation of a monster in his mind, who he called the "Canker Man"... a gaunt figure who took away people that he loved. When he finally learns the truth about his monster, and about his mother, he begins to understand it all... and the monster loses its awful powers as empathy and understanding take root.

While Absentia finished its festival rounds and Oculus inched its way toward production, Somnia was my first script taken out to market by my new agency. I had signed with APA just as Intrepid engaged me on Oculus, which was my first studio writing and directing job. Jeff Howard and I finished our first draft of Oculus and turned it in to Intrepid, and immediately turned around and started writing Somnia.

The script got some interesting attention. While some of the more mainstream horror companies balked at the emotional ending and preferred a story that was "more about a boy and his monster" than the emotional wrap-up we insisted on, others understood it right away.

Elijah Wood and his producing partner Daniel Noah sought me out when they read the script. We met for drinks in Venice and I was absolutely starstruck, and we've remained friends ever since.

Jada Pinkett Smith was another big fan of the script, which led to a surreal afternoon at her stunning home where we talked about the story at length and watched an early cut of Oculus in her home theater. Will Smith joined us toward the end of the meeting, and I had a difficult time speaking.

I've written before about the drama surrounding Oculus' premiere and eventual sale to Relativity Media, so I won't rehash that now, but as Oculus raced toward release, Trevor Macy at Intrepid made an offer to produce Somnia for Relativity and I eagerly accepted. My first "real" movie was going to be released wide in theaters, and the same studio was going to double-down on me - Somnia was greenlit by Relativity for a big domestic theatrical release. We'd pre-sell our foreign territories on this promise, and they eagerly snatched the movie up. This was my own Hollywood dream, coming to life.

It wouldn't work out that way. In fact, Somnia would turn out to be the first nightmare of my career.

It started well enough. We had filmed Oculus in Daphne, Alabama, taking advantage of an aggressive tax rebate. We would do the same with Somnia, bringing back a lot of my Oculus crew and shooting in and around Fairhope. We began shooting in the fall of 2013, less than a year after we'd wrapped Oculus.

We hit the ground running. Very little time had passed since we wrapped Oculus, and the movie hadn't come out yet, so at first it felt a lot like we were just picking up where we left off.

Bruce Larsen, who also carved the Oculus mirror, working on a prototype of the Canker Man.

We had casting challenges. I was still a relatively unproven director, my first studio film hadn't been released, and this was an ambitious script. After a lengthy search (driven by foreign pre-sales, a process I knew nothing about and now quite detest), Kate Bosworth signed on to play Jessie, and Thomas Jane - who I admired greatly from his recent work in The Mist - joined the production as Mark. (Funny story - Tom arrived with hair down his shoulders, and vehemently didn't want to cut it. That disagreement put us off on an awkward foot, and I ultimately conceded the point to him... though I do regret that now.)

The major discovery was 7 year-old Jacob Tremblay as Cody. Jake had only made one movie before this, he had a small role in The Smurfs 2. His self-tape audition came out of nowhere and we knew was a a phenomenal talent. Right after we wrapped, I got a call that he was being considered for a movie called Room, and we shared some footage to help him get the part (that movie would establish him as one of the biggest and most sought after child actors in the world... but we had him first.)

We were committed to practical effects wherever possible, and creating a striking suit for our monster. It all felt like it was going to work. But the shoot would prove to be much more challenging than we anticipated.

The shoot itself was challenging for the typical reasons. There was a little creative tension on set with particular actors, we didn't have enough money to pull off our more ambitious visual moments, and we were forced to remove several production days at the last minute, throwing our schedule into a bit of chaos.

But none of these issues were particularly unusual for a lower budget film, and while it was more challenging and frustrating than Oculus had been, overall the shoot was just fine. I felt that our third act was pretty drastically under budgeted, and what was scripted to be a deep dive into a child's imagination was stripped down to a few vines on the walls and some moths... but other than that, I don't really have much to complain about.

(Fun fact: it was also the first time I would work with Annabeth Gish. We were fast friends, and though she was only with us for a few days, I knew we'd end up working together again.)

We wrapped the movie, I got to editing, and all seemed fine. It was a unique story, much less horror-centric and much more of a fairy-tale. This was, of course, by design. There was a delicate vibe to the whole thing, anchored on Jacob's arresting performance, and a shadowy magic. It felt innocent, wondrous, and ultimately cathartic.

Then, Relativity got their first look at the cut, and the problems started in earnest.

We had been clear (and aligned, I'd thought) about what kind of movie this was. But almost immediately, despite these conversations, the studio began to push the film more and more toward being a traditional horror movie.

We had designed a practical monster in the Canker Man. Our creature was tactile, practical, and - we believed - appropriately simple. After all, it was meant to have come from the mind of a child.

The studio kicked hard, and the directive came down to try to make the monster "much scarier."

There wasn't a lot we could do; we'd shot what we'd shot, after all. The decision was made to take our footage of our practical monster and drastically alter it using visual effects.

The Canker Man would be digitally warped and molded into a skeletal, grinning creature. The visual effects artists would be using footage that wasn't captured with the intention of being altered that way, so a lot of the artifice would be obvious. He'd become a little rough around the edges. We told ourselves that this would be okay... it was a dream, after all.

Early camera tests of our practical Canker Man suit

The final VFX-enhanced monster This began to nudge our monster away from our core concept. While our practical suit would always need some help from VFX, this was now tilting into an area that strayed from the true identity of the creature.

Another major sticking point was the plot itself.

In the movie, Cody's adopted mother Jessie is shocked to find a physical manifestation of her deceased son, Sean, after Cody sees his picture. She then goes about trying to "rebuild" her dead son in the imagination of her new foster child, hoping to see and interact with him more... "I just want to hear his voice."

This morally questionable exploitation of Cody was, to put it mildly, the entire point of the story. Jessie goes too far, and when she finally resorts to drugging Cody to force him to sleep in the hopes of seeing her lost son, he is unable to wake up from a nightmare and her husband is killed.

Jessie spends the rest of the film clawing her way back to redemption, and having to atone for what she's done, all while finally focusing on Cody's past and healing instead of her own.

As a character, Jessie does things we do not agree with, and they have serious, permanent consequences. And the moral murkiness of this was, frankly, the point.

The studio was flinching hard. "It makes her unlikeable," they argued. There was a push to try to back off of this, and to pull the punch... sure, she could exploit him somewhat, but they wanted to pull it back. Kate Bosworth's performance began to be altered in the cutting room, flinching away from some of the more decisive choices in favor of a more watered-down, morally generic heroine.

This middle ground would prove to be ill-advised.

As we were battling over the edit, something else happened. Oculus was released in theaters in April 2014.

If the movie was a huge hit, it would mean I would likely win more of these arguments, and Somnia would be restored to something closer to my vision. If the movie bombed, the studio could (and likely would) run ramshot over Somnia, twisting it into a more generic studio horror story and jettisoning things they didn't quite understand.

Ultimately, the movie performed... moderately. It was kind of right in the middle. It wasn't a failure, but it wasn't a hit either. Both sides dug in. And suddenly, Somnia was being twisted into something between two tones.

Citing the "disappointing" performance of Oculus (which, frankly, did just fine), the studio insisted that we write and shoot some additional "scares". Among them was one of the worst studio notes I'd ever receive (well, at least until I started working for Netflix.)

The entire premise of the film was that, when Cody slept, his dreams would manifest physically. When he woke up, they would vanish. This was, to put it bluntly, our only rule.

The note came in: "We need a scare set piece to occur when he is awake."

Now, I can't understate how nonsensical this is. It defied the entire premise of the movie. Their rationale (such as it was) was that the audience wouldn't ever be frightened when Cody was awake, because they knew the monsters only came when he was asleep.

"Well yeah," I said. "That's why it's important that the movie isn't just about scares."

But they were insistent. If a monster showed up while Cody was awake, that would be "truly thrilling" and "catch the audience off-guard."

It was the equivalent of saying "the shark in Jaws only attacks people if they're in the water. We need an attack to occur on land." I mean, that would really catch the audience off-guard.

I had no idea how to address this note.

It was early in my career, I didn't have a theatrical hit under my belt, and I didn't have the ammunition to fight it. So I had to address it somehow, and it had to satisfy the studio, or else we may not get our theatrical release after all.

So I ended up writing a scene where Cody is wide awake, only to be attacked in his bed by the specter of a deceased bully (a previous victim of one of his dreams).

How the fuck were we going to make this make any sense? Well, we had to write a whole other scene - much earlier in the film - where a therapist explains the concept of "waking dreams." Jay Karnes (who was a lovely person and one hell of a good sport) had to randomly say "you know, some people can dream while they're awake" to Bosworth, desperately trying to set up this moment.

It doesn't quite work, to say the least. Cody looks under his bed, sits up, and is attacked by this eye-less specter. Then, he's dragged screaming under his bed, until the attack just... stops, for some reason.

We filmed it, and I thought it was the stupidest thing I'd ever shot (it wasn't, though - the stupidest thing I've ever shot remains the on-screen stalking and murder of a cat in the pilot of Midnight Mass, a truly braindead scene that Netflix insisted on adding.)

Along with this scene, which would become the crux of Relativity's trailer, we shot several other random scares that were peppered throughout the movie. Now, this wasn't enough to tip the film entirely into being a horror film... just enough to make it exist awkwardly in between two genres.

It got worse. The addition of all this new "horror" material made the film longer (go figure), so the directive came down to begin removing other elements to make room. Those elements were character development and context.

The cut began to get bumpy. The fairy-tale tone of most of our original footage was at odds with the overt horror tone the studio was insisting upon. Every time we tested one of these cuts, the audience was understandably confused... they really loved the concept, they really loved Jacob, and they all loved the ending revelation - but along the way, what was this movie? Was it a horror film? Was it a drama? A fantasy?

Even with this, our test screenings were actually pretty good. We were testing in the high sixties and seventies - which is, infuriatingly, right in that middle zone: not good enough to kill the studio interference, but not bad enough to let them take over.

So we kept fighting. And we kept cutting. And we kept testing. And with each screening, the studio forced it further and further into this no-man's land.

There were a few victories, though. Danny Elfman came on board to collaborate with the Newton Brothers on our score. Some of our non-horror sequences, like a scene involving Christmas-light butterflies, were being called out by our test audiences in the best ways. But the tug-of-war over the basic identity of the film was tipping decidedly toward the more horror-centric approach.

Finally, the studio came after the title. Somnia was too confusing, they said. Nobody knew what it meant. So, we added a scene where Jay Karnes - once again having to naturally sell force-fed exposition - literally defines the world "somnia" during a therapy scene (these therapy scenes were basically being used to spoon-feed material to the audience.)

That wasn't enough, though. The studio began workshopping other titles, and they landed on perhaps my most hated of all of the options: the ultra-generic Before I Wake, a title already used by a handful of low-budget thrillers over decades. We conceded after it was made clear that it wasn't really up to me in this case, and we limped into what I consider to be the worst title of my career.

With our new uneven tone, a new and "improved" monster, and a groan inducing title, they finally agreed to stop messing with the movie and honor their commitment to releasing it wide.

You tell yourself a lot of things in this business, and I told myself that the heart of the story - the revelation about where the concept of the Canker Man came from - was still intact, so all would be well. Viewers would be able to look past some of the bumps because the payoff was worth it.

But we didn't know what else was happening at Relativity.

They announced the release date for the film, posters started showing up in theaters, and we were anxiously awaiting our big wide theatrical release... when suddenly everything stopped.

We didn't know it yet, but Relativity Media was having huge financial problems. They were on the verge of bankruptcy, as a matter of fact, and though they weren't admitting it yet, internally they were in a state of absolute chaos.

Without warning or explanation, the studio moved us off our date. The movie wouldn't be released after all. We immediately knew something was very wrong, despite Ryan Kavanaugh's insistence that our date was "just a bad date," and that he'd moved the movie in order to make it "an even bigger success." No, this whole thing stunk. It stunk bad.

They set another date, and we watched and waited. But no trailers. No marketing. And then... that date was pushed as well. Again, they insisted everything was fine. But we knew. Something was deeply wrong with the company, and they were lying to us.

Some of this played out publicly. Kavanaugh and I got into a spat on Twitter when I suggested that the studio wasn't able to release the movie theatrically after all (I still don't regret saying this, and man oh man, was I proven right).

Meanwhile, our international distributors were scrambling. We'd sold a lot of international territories off the promise of our big theatrical release in North America, and they weren't going to wait forever. By the third time Relativity pushed our release date, the whole house of cards fell down, and various international territories started releasing the film haphazardly on whatever platforms they could.

There was no coordinated release strategy. Suddenly, the film was just available in Argentina, for example. Or it was On Demand in Russia. I remember being shocked when a German Blu-ray appeared on eBay without warning.

There was no rollout to critics, no coordination at all. Within a few weeks, it was pirated and available on torrent sites everywhere. And without a proper press rollout, the only reviews available were trickling in from these international markets, or random blogs in other countries. A slew of reviews - many of which were from obscure blogs in Russia and Turkey, not even written in English - hit Rotten Tomatoes. With no counterpoint from any credible critics, we debuted with a 30% rotten rating.

It would stay this way for years.

Relativity finally admitted the truth, declared bankruptcy, and went to court. Our movie was dragged down into the vortex with it. Our abysmal tomatometer score suggested that the movie wasn't released because it was bad, not because the studio had gone bankrupt. This assumption stuck to us like glue as the film languished in bankruptcy court.

Heartbroken, we turned our attention elsewhere. I would write and direct both Hush and Ouija: Origin of Evil before the whole distribution saga of Before I Wake was finally resolved.

In the years that followed, very little would be said about Before I Wake, and whatever was said was absolutely not positive... how bad must this movie be, after all, to be so unceremoniously pulled from the release? Some theaters just left the poster up, still saying "Coming Soon." I know of one theater in LA that had it up for over a year.

By the time Relativity finally settled their mess, and the film was unceremoniously given back to us with the most lackluster apology imaginable, and our chances of a domestic theatrical distribution were entirely obliterated. The film was already available online through piracy and a tiny handful of foreign blogs had defined our critical reception. No other studio would touch it.

We were able to arrange one screening of the film once it was unencumbered... we had a single showing at Fantastia in Montreal, a festival I adore. Instead of a huge worldwide theatrical release, the movie would play exactly one time, to one audience.

It was sold out, it played wonderfully, and it remains one of my favorite screenings of my career.

With Mitch Davis, Fantasia's artistic director, Kate Bosworth, and my wife Kate Siegel.

In the years that had passed since we shot Before I Wake, Kate Siegel and I had gotten married. At the premiere, and in the picture above, Kate was pregnant with our son.

We named him Cody, after the little boy in Somnia... the little boy whose dreams came true.

In 2016, Netflix acquired the North American rights to Before I Wake, and quietly dumped it on the service. There was no premiere, no rollout, no screeners sent to critics. One day it just appeared on the service without fanfare, as Netflix does to so many titles.

It didn't even appear on the New Releases tab.

A few critics found the movie on their own, and slowly some new reviews started to trickle out. Bloody Disgusting led the charge, discussing how the film had been wrongfully maligned over the years, and correcting identified it as a "haunted fairy tale" that was being handicapped by the expectations that it was a horror film.

Our tomatometer began to slowly rise. After some time, it tipped out of "rotten" into "fresh"... and today stands comfortably at 66%. Those early, malicious reviews are still there, the movie is still scarred by them... but despite Relativity (and eventually Netflix's) efforts to rebrand the movie as a straight horror film, most critics were able to see it for what it truly was.

Our audience was as well, for the most part. Some viewers yawning their way through the Netflix original horror feature section would find it, and get something maybe just a little more thoughtful than they were expecting. A few people reached out to me to talk about losing their own loved ones to cancer, or about how the sweeter elements of the story impacted them. I've always been grateful for that.

But ultimately, the movie was just brutalized by its studio. I've never again had so much damage inflicted on a project by a creative partner and supposed collaborator. And while Netflix did the bare minimum when it came to releasing the movie, I am still very grateful that that they even did that much... if it wasn't for Netflix picking it up, I think there's every chance Before I Wake would have never been made available at all.

I'm proud of the movie. It's not perfect, by any means - it was an ambitious sophomore effort and I had a lot to learn about a lot of things - but it has some beautiful ideas and some moments that really work. I see its flaws clearly, too, and while I tell myself some were out of my control (like the awkward scares forced on us by Relativity), others were most certainly entirely on me. Not everything works, and that's okay.

But man, Jacob Tremblay is phenomenal in this movie. And I absolutely adore the final ten minutes.

My son Cody is almost 7 now, exactly as old as Jacob was when he was cast to play his namesake. I hope Cody's dreams come true; that's why we named him what we named him.

Sometimes, our dreams don't come true quite how we might expect.

Hollywood is just kinda like that, I guess.

[bornetoblood]

A while ago @nishihii​​ asked me about Gehrman and the Orphan parallels so I’m gonna talk about that for a minute.

So, when the cutscene before the Orphan fight plays, we hear Gehrman sobbing. The Orphan and Gehrman both use scythe-like weapons and act as the finale (bar Moon Presence) of the game as a whole. Gehrman is said to be at peace when the Orphan is killed the same way the Doll is when we defeat Maria. But why is this? What is the juicy symbolism? The reason is pretty open-ended but I have some ideas. 

The Orphan is a representation of Gehrman in The Hunter’s Nightmare. We can assume, like the other Hunters, Gehrman was cursed by Kos to go to the Nightmare upon his death. If he is being held in the Dream, however, preventing that from happening. It could be that part of Gehrman resides in the Nightmare within the Orphan- the same way that Maria and the Doll aren’t the same but are connected through Great One shenanigans.

The Nightmare is founded on guilt- particularly surrounding Hunter’s actions in the Fishing Hamlet. It makes a lot of thematic sense to have Gehrman’s characteristics seep into the representation of the atrocity his organisation caused. 

Gehrman is the surrogate child of Flora- mirroring the Orphan as Kos’ child. Take a child from a Great One; become the child of a Great One.

Gehrman and the Orphan are both isolated and grieving. They are fueled by their anguish. For Gehrman it results far more from his own actions and his participation in the cycle -The Orphan is just a baby fr- but I believe there’s still a connection to be made with their motivations.

There are probably more reasons so feel free to tack onto this if you want! I’ve just been mulling this over for a while and I think it’s an interesting little detail. You can’t escape your crimes against the Gods even when taken under their wing.

[arospecsyourblockdudes]

Gem opens her book and immediately something pinches her mind, a sharp sting that dulls into a headache behind her eyes. She's sure no one noticed her wincing, and as she reads on she's grateful for that.

She'd never seen the boogeyman curse. Or, well, Lizzie-as-Pearl had had it when she was Gem-as-Cleo, but that had all been very removed from her tasks of doing a bad British accent and murdering Etho a lot. She's heard Impulse and Scott talk about it. Sometimes they talk about past games around the campfire at night, and sometimes it's giving Gem some tips, sometimes it's laughing at old memories, and sometimes one of them tells a story and it gets very quiet.

The boogeyman stories tend to be conversation killers. Scott's said how hard it was to resist the urge to kill, how he kept thinking of just taking out someone when their back was turned, but he just couldn't. Impulse had nodded along, spoke of the paranoia a boogeyman caused, where you couldn't get to cozy in your alliances because you just never know, how he'd considered getting a quick kill in on one of his teammates. Gem had wondered about it, morbidly curious. Lizzie-as-Pearl had seemed relatively put together when they spoke. Guess it's her turn to find out.

--------

There was blood on her hands, metaphorically, and she'd never felt better about it. The only way she could feel any more pleased would be if Bdubs had died directly to her, but zombies seemed pretty thematically appropriate. He'd been mad and shouting but once he read the book he understood. He'd been a boogeyman. Impulse said he'd been the very first one. How appropriate, then, to have him.

Gem finally understood the bloodlust aspect of this. Scar had shot her into the pit her tnt trap made and when she was crawling out of it, shield protecting her face, she found herself smiling. Her heart was beating fast and she wasn't quite thinking straight and she'd been shot with an arrow but she was smiling. She wanted to laugh. She wanted Scar dead yesterday.

She hummed cheerfully as she rigged Trader Scar's to blow. Hopefully she could catch Scar in it, but she found she didn't actually care. The more, the merrier.

—————

Impulse was practically begging to be killed. Gem caught his choked “thank you” as Bdubs stabbed him in the chest. She watched from the sidelines with a glowing pride. It was almost better than getting a kill herself, the idea of an army of infected at her disposal, following her orders. Almost.

Surely being the boogeyman can’t be so bad. Impulse talked big about being afraid of it, of himself when he was cursed. But now? Now when it came down to choosing, he put himself at the pointy end of the sword and asked. It can’t be bad as all that, really. Gem felt more vibrant than she had for a while! It can’t be so bad.

------

They all really needed a leader, Gem thinks, because look how easy it is to get them to fall in line!

She's always felt a bit like a natural leader, but this is so much more fulfilling than leading a little trio. This is an army.

Sure, it was nice and cute to be the unofficial leader of Gem and the Scotts, but she was made for more than that. She wasn't put into this game to supervise building cute cherry wood cottages and chide people when they start getting silly. She was brought here to open the End, to send an army to kill the dragon, to send an army to kill everyone

In a way it's similar to how She-as-Cleo was, when she was trying to lead the Clockers. Because she actually did something about their enemies. She killed them. These are death games, are they not? Last one standing wins? She didn't understand this dancing around rivalries and enemies, avoiding taking too many hearts. They all need to do something, and they need her to tell them what to do. And what they need to do is kill.

Finally, she gets to slice open Joel's neck and watch the dying panic slowly leave his eyes. She smiles as he falls. Another soldier recruited.

---------

Gem is red because Scar shot her through the skull and it's bloodlust on bloodlust and Scott is trying to talk to her but she can barely focus. She can't hear him over the fog in her head, over the sword in her hand. He's just chatting.

She doesn't need to hear him though, because she knows what he's saying. He wants to die. Just like Impulse. Scott's practically on his knees begging for her to kill him.

The Boogeyman isn't as scary as all that. She feels finally free, finally powerful. Everyone else agrees. Gem knows Scott must be so tired of resisting, he'd always said how difficult it was. He needs an excuse to let his guard down against her infection, and she can be that excuse.

Even as he backs away, fear in his eyes, making some bullshit up about leaving, Gem understands. He has to put up a front, but it's so obvious to her. He wants to die and be reborn infected. Everyone does. Scott's so obvious, he might as well be holding her swordpoint to his heart and crying for it.

She slashes him a few times and he runs away. Gem doesn't give chase. In due time, she will. The number of uninfected is being chiseled down. They'll get to Scott. There's no hurry. Gem wants to be the one to kill him.

[starshinedragon]

SSO: WINTERDALE Fan written main storyline

The Map of Winterdale:

The Life Warden Trees of Winterdale:

Story design:

-> This is the updated version of an old post, taking into account the new main story quests and describing the quests in much more detail. -> It takes place after aging Concorde up and escaping Devil's Gap, after all of the main story quests up to 2023 December. -> Part of SSO Rewritten (my writing project of the whole story of SSO until defeating Garnok). You can find the story related posts with the tag "sso rewritten" -> Phases 1-2-3 is the main story so far, here I wrote phases 4-5-6 which are the main story quests connected to Winterdale.

-> The area of Winterdale was established in the Star Stable Winter Riders game and I added elements from SSO (kallters, rangers, druids) to fill in the empty places. The focus characters of the Winterdale main storyline are going to be Katja (as the main opponent), Linda (as she is her rival), Mr Sands (redemption arc) and the kallters. The setup for them is already in the game with the extremely effective hook when the MC spots them in Dino Valley leaving. The thematic guide for the Winterdale story is the rumor of the Ice Witch, already suspected to be Katja. The final confrontation of this phase is tied to Garnok and Pandoria.  

So saddle up and get ready for the adventure!

PHASE 4 –  Entering and exploring Winterdale

PART 1: Icestorm

Unlocking Winterdale:

-> MC is called to Valedale. At the runestones before the portal spiral leading to the Secret Stone circle, we meet with Avalon, Evergray and the druids who arrived from Winterdale. The leader of the Winterdale druids is Cairn Stevenson (middle aged, but younger than Evergray, white beard, blue and brown robes) and his horse is a white Percheron wearing new brown and light blue druid tack, called Ossian. They came to ask for help, since the storm in Winterdale has gotten worse. Last night a huge blizzard hit the valley and they think it is magical and suspect the hand of the Ice Witch might be in it. They are unable to dispel it and ask for the help of the Soul Riders.  

-> We ride with them through Dino valley and they give us some exposition about Winterdale. They say Pine Hill ruled over most of the valley historically. They tell us about the cold micro climate, when the kallters migrated from Dino Valley to Winterdale, and that the current persisting winter storm started many years ago. The storm is sometimes weaker, sometimes stronger, but always present. It cut them off from the other parts of Jorvik as the Frostfire pass leading to Ashland and the Seaview pass leading to Marchenghast froze over and the blizzard halted the works on Northlink tunnel. The Lord of Pine Hill mansion, who has the strongest voice in how Winterdale runs itself does not seem to care anymore. Avalon asks them how did they leave and intend to go back to Winterdale then if there is no way open.

-> MC, the Soul Riders, Avalon, Evergray and Cairn arrive at the Icengate where Nanook and Sedna (kallters) wait for us on horseback. They perform a ritual and open the magical lock on the passage. The team is escorted through the tunnel of ice and rock, made of a similar design as Stonecutter’s vault. Halfway through it Magnus Steinar’s ghost appears as he guards this tunnel. Sedna tells him everyone here is a friend and they are to have safe passage through the Icengate whenever they please. The team exits the tunnel high in the mountains and looks over the snow covered Winterdale valley ravaged by the blizzard.

Fighting the Storm:

-> The team descends on the steep Meander trail (from the Winter Rider game) and arrives in Meander Stables, where the druids set up camp. You are greeted by Eric Lowe, the owner or Meander stables. There you are introduced to the other druid characters of Winterdale by Cairn. They tell you of the situation: the magical storm started some days ago and won’t stop. Katja’s frost powers wreaks havoc, flash freezes sweep across the valley every other minute and the winds, snow and raining icicles destroy houses, stables and threaten to freeze everyone to death. The team is asked to help the valley. MC agrees to help, while the druids try to figure out a solution to stop the storm.

-> MC is sent on four different missions in four consecutive days with the Soul Riders to introduce you to the layout of Winterdale. For each mission, you go to a location in Winterdale to help the people fight the storm by dispelling frost, gathering firewood, saving the animals, etc. To get anywhere, you have to ride through the storm. Each time a flash freeze is coming you have to take cover. Icicles rain on the way indicated by the circles appearing in front of your horse that you have to dodge. You and your Soul Rider partner get there, help out and return to Meander. First, you go with Lisa to Cape Point village, next with Anne to Icewind Station, then with Linda to Pine Hill village and finally with Alex to Anvil Woods Druid Village and back to Meander.

Dispelling the Storm:

-> In the meantime, Evergray and the druids tried everything and figured out that they can’t dispel the storm alone and need help from Fripp. MC is sent to ride back to Valedale through the Meander trail, Icengate passage and Dino valley (there is not an available trailer in Meander yet- not until you open Northlink). You ride to the spiral portal in Valedale and fail to open the way.

-> Katja appears on horseback, cornering MC, tells you that they have blocked your access to the Secret Stone Circle. MC vows to stop her terror of Winterdale, but she just laughs and tells you not if I stop you first – forever! She sends fer frigid powers after you. You race back to Meander the way you came, dodging icicles and also Ice Spectres, that are like shadow seekers, but made of mist and frost and are controlled by Katja. You get back to Meander and tell the druids that Katja blocked you from opening the portal. Evergray is unusually cheerful about this and when they ask him why is this a good thing, he tell you that he figured it out. Katja blocked you from going to the Secret Stone Circle, because the solution lies there. By uniting the power of MC, the Soul Riders, druids and kallters and Fripp, you will be able to stop the storm. Avalon, the forever optimist points out the only problem is getting there.

-> You can actually get to the Secret Stone Circle on foot, however, there is one problem besides the storm, and that is the cursed Nightmare Forest. You have avoided it so far, taking the paths next to the Meander river, but now you have to go through it. As only the Soul Horses are strong enough to go through the storm and the dark forest, Alex, Anne, Lisa and Linda are riding double with Cairn, Avalon, Sedna and Uyarak (the other magic user of the kallters beside Sedna) and MC takes Evergray. You ride through the storm, hiding from the flash freezes and ride into the dark forest. The Nightmare Woods in covered in snow and ice, shadow seekers patrol and dark blue and purple wisp-like spirits drift amidst the gloomy trees. The team takes the path through the abandoned Crescent Lake Ranger Station up to the Aurora pass and then the western road leading up to Starshine Mountain. You ride up the steep mountain path (design based on the Starshine Legacy games) and get to the broken bridge.

-> Katja appears behind you sending an army of Ice Spectres. You run through the narrow path and jump the broken bridge. She stops before the jump and her horse rears, not being able to come closer to the Secret Stone Circle. Fripp awaits you in the circle and tells you don’t worry, no servant of darkness can come into the circle again, because he woke up the guardian tree of the Circle: Astral Crown. You see the formerly leafless big tree towering over the circle now covered in azure and lilac leaves, that shine like stars. The riders dismount and form a magic circle, everyone positioning themselves in front of each runestone. They perform a ritual and dispel Katja’s Icestorm from Winterdale.

PART 2: Exploring the valley

The Roads to Winterdale: Marchenghast and Northlink

-> Now that the storm is gone, MC can properly explore the valley. The Secret Stone Circle’s portal to Valedale is open again. A cutscene takes you back to Meander so you don’t have to ride through Dino valley again. Eric, the owner of Meander stables thanks you for saving the stables and the village and promises to put in a good word for you for each place in Winterdale. The Meander Championship is unlocked, it runs through the Coldstone forest and Frostbitten fields.

-> After the full introduction to the Meander area, it is time to open Winterdale properly for people and the horse trailers. Eric sends you to Cape Point to meet a ranger friend of his (Aiobhinn, the leader of the Winterdale rangers) who will lead you through the Seaside pass up to the Marchenghast Castle. Eric apparently knows everyone in Winterdale.

-> At the Marchenghast Castle they open the gate for you. There are very few people and servants there and MC meets the lord of the castle. He was told that you stopped the storm and asks how. As you can’t say magic, can choose from different stupid options to try to explain scientifically how you stopped a whole blizzard. Whatever you choose, Lord Marchenghast laughs and says he know about magic in Jorvik, don’t worry he just thought you would be better at lying. He opens the gates and grants you safe passage through the castle and estate and sends you on your way. The rocks have been removed from the road in Goldenhills and cars can now access it, opening the trailer options in Winterdale.

-> MC rides to the Baroness and tells her that the storm is over and the work on the Northlink tunnel can continue. You are sent to tell this to the workers. While the main story calls you back to Meander, the tunnel dailies are now unlocked, requiring you to help in the work for seven days to build the tunnel.

Rangers and Pine Hill:

-> Eric tells you Aiobhinn liked you and is willing to properly show you Winterdale, now that the storm is gone. You are led though Coldstone forest with the blue crystals and trail riding pathways and arrive in Explorer’s Rest Ranger Station. You are going with Aiobhinn as she checks on all of her rangers throughout the valley. You help the rangers clear the paths covered by the snowstorm, unlock races. They show you the path leading to Frostfire pass, but it is not accessible, until it melts.

-> Next, you ride north, and he shows you Pine Hill village and tells the gossip about the lord of the mansion, Mr Sands. You meet the people of the village and stables, unlocking many side quests. The ranger shows you the Rimefang woods, but you only ride on the path next to Meander river, because the forest is infested with wolves. Frosted mammoth pine trees, fallen trunks, misty woods. If you go too close to a wolf, it will start to chase you and you need to gallop to lose it. If it catches you, you are teleported out of the woods with the message: “Your horse got you out, but be careful, next time you might not be this lucky!” She tells you there is a hidden kallter village in the middle, but you can’t reach it, unless they invite you.

-> You ride to Icewind station. You meet Henry Stevenson(the old guy from the Winter Riders game), second in command to Aiobhinn and brother of Cairn who is the leader of the rangers at Icewind station. He reports to Aiobhinn and tells you the rumors about the Nightmare Woods and that there are two abandoned stations there. They plan to man them again one day, but not until the woods are haunted. You unlock side quests and races in the Icewind Woods.

Druids and Cape Point:

-> Aiobhinn remains in Icewind and Henry offers to guide you through Anvil Woods to meet the druids and his brother. You ride to Anvil Woods and are introduced to their Life Warden Tree, Wise Leaf. They built their village around it. The tree is a gigantic oak who talks in verses, metaphors and talks like an old wizard and is generally whimsical and wholesome. In the side quests, you help the druids fight against Dark Core, as the corporation wants to cut down the forest. The Anvil Bay Championship is unlocked (joint project of the druids and rangers, organized by Henry and Cairn, running through Anvil and Icewind).

-> The druids tell you of their brothers and sisters in the other druid village of Winterdale: Jorwatch. You go there and meet them, unlock quests. They tell you that they guard the path leading to Jorcrater, since noone is allowed to enter as it is too dangerous. Finally, MC is asked to meet Fripp and Cairn in the Secret Stone Circle and you are rewarded with 100 Star Coins (just like at the end of each phase).

PHASE 5- The Kallters and Mr Sands

PART 1: The Redemption of Mr Sands

Secrets of Pine Hill Mansion:

-> Meeting at the Secret Stone Circle. The dark side have been awfully quiet lately and the Soul Riders suspect they are up to something. With Pine Hill Mansion so close, Linda proposes a plan for she and MC to sneak into Pine Hill Mansion (like she did in Starshine Legacy 2) and gather information. MC meets Linda in Pine Hill Village and they wait for nightfall.

-> The hole in the wall Lisa made back in SSL 2 is still there, hidden by a bush, but Linda knows where to find it. It is dark now and you have to find your way through the maze. You do, but there are some guards and dogs outside the house, you have to sneak past them. This time, unlike in the game, you get in through the greenhouse after finding an open glass panel. Linda tells you of the adventure they had here back in high school with Lisa, when she got stuck up in a scaffolding. Luckily, the house itself is empty so you are free to wander.

-> In the main hall, Linda shows you the pictures of the Soul Riders she saw last time here. However, there are four new pictures on the walls, paintings of the Dark Riders (Sabine, Katja and Jessica) similar in style, wearing similar ceremonial dresses. The fourth picture is still covered with a tarp, high on the wall, so you can’t see. MC and Linda get into the library and start looking for clues. Linda finds Sands’ journal. They find out about Rosalind, who was burned at the stake hundreds of years ago for being a suspected witch. She was in fact, a druid and Sands hates the druids because they didn’t save her. He himself turned to dark magics trying to bring her back, but only managed to reach Garnok, who offered him immortality and Rosalind back if he helps the forces of darkness achieve victory.

-> Mr Sands appears and captures them, trapping them in two magic circles. Linda and MC focus their powers (playing a slider-click mini game), but cannot bring his spell. Linda asks him about Rosalind and tells him she understands why he did it, but this is not the way. She manages to upset Mr Sands enough to break his concentration and MC breaks the magic circles. Linda makes a moonlight flash and they run away, escape through the main entrance. Meteor and MC’s horse wait for them there and they escape Pine Hill Mansion.  

Saving Justin (again):

-> Katja makes a plan to lure the Soul Riders into a trap. Just like she kidnapped James in Starshine Legacy 4, she now plans to kidnap Justin. Justin has discovered his druid powers since meeting the Singing Yew in South Hoof and has been training. Justin was to meet MC for training in Silverglade, but he doesn’t arrive. After waiting a bit, you get up to investigate. MC finds signs of struggle and uses moon vision to see what happened. You see Katja surprising Justin and even though he tries to fight back, Katja charms and mind controls him, like she did to James. You call the Soul Riders to tell them Justin was kidnapped, but they say Katja already called and gave them an ultimatum: she wants MC to come to Dark Core Platform and bring their Soul Horse.

-> It is an obvious trap, but you have to go. No sneaking this time: you are to meet the goons at the DC ferry in Moorland. MC and their horse are brought to the platform and led in front of the portal, where Katja, Jess, Sabine and Mr Sands wait for you. Katja is keeping Justin in a magic circle at the edge of the platform where he last fell and Mr Sands is not happy about this situation at all.

-> Katja says get on with it, sacrifice MC’s horse to bring Garnok into this world. MC uses her powers to make a shield around them. Katja says fine, then I will push Justin off the platform and time you can’t save him. MC asks Sands if he is going to let this happen? What would Rosalind think of him now? She would surely not want a kid to die so she can live again? Mr Sands hesitates, doesn’t know if he is willing to sacrifice Justin for a promise of Rosalind. MC says Garnok is a force of destruction, not life and he is lying to Sands and cannot bring back Rosa, but Justin lives and he is his family. Katja is waiting for permission from Sands and she is getting more impatient by the minute. She yells at Sands to give the order and he can’t.

-> Katja pushes Justin off the platform and MC can’t do anything from the shield. The Dark Riders laugh, but Justin levitates back up. He says he has been practicing and just like his mother, Catherine, he is also very talented. He didn’t like almost dying the last time and prepared for this case. Katja is furious, and raises her hand at him, saying, cute, but cheap tricks won’t save you from the true power of darkness. She shoots dark energy at him, but a shield appears around Justin, cast by Mr Sands and it reflects the power back to hit Katja. The explosion also dazes Sabine and Jess.

-> Sands shouts at MC to flee and take Justin while they are dazed. Justin jumps on your horse and you also want to take Sands. Before he can react, a blast of dark energy hits him from behind, cast as a joint spell of Jess and Sabine. Jessica says I have always wanted to do that. You have to flee and leave Sands there.

-> You escape the platform and leave with the little boat to Goldenhills. You ride to Jasper’s farm with Justin and meet the Soul Riders there. Jasper is scolding you for getting Justin into trouble, doesn’t like this druid business that took his Catherine from him. You tell the others what happened. Linda speaks up, says I am fine with being the one to say it, but we need to save Mr Sands now. Justin agrees.

Saving Mr Sands:

-> Meeting at the Valedale spiral, going to the Secret Stone Circle, Justin is also there. Reporting what happened to the druids. All druids from Harvestlands and Winterdale met to debate whether to save Mr Sands. The conclusion is that we need allies and intel so we are going to rescue him from Dark Core. The others say we cannot be even sure that he is alive, so Linda and MC conjure up a moon vision to look for him. It shows that he lives, but barely, kept captive in some unknown Dark Core facility. You have to find out where.

-> Spying on DC with Derek. As a government agent, he knows where and how to get the information to find Sands. MC, Justin and Derek go to every possible Dark Core location and follow a trail. Finally we end up at the station above Valedale and manage to find a photo validating that Sands have arrived to the location of his imprisonment. It is not written where as DC is very secretive about him.

-> We meet up at the Valedale spiral and show the picture to the others saying that is all we have found, ready to give up. Lisa looks at the picture and recognizes the place: it is the DC Barricade, where she freed Starshine from is SSL 1. It is located just north from Anvil Woods, but the road is closed so we need a boat again.

-> Going to Cape Point to find someone willing to ferry us there. The Soul Riders and MC all plan to go and we manage to convince Justin to stay in Cape West as it is too dangerous for him to come. With the guidance of Lisa, we sneak into the DC Barricade at night. Linda conjures a vision and now that we are closer, is able to find Sands. He is held in the main building where Starshine was also held. MC, Lisa and Linda are going on foot, trying to find Sands, while Alex and Anne take the horses to a point where we can get on to escape.

-> We go through the Barricade and see many weird Dark Core projects, shipments of drakonium, artifacts, pandorian creatures in cages and imprisoned in a runic circle there is a massive, formless shadow monster. We can only see its glowing six eyes and huge clawed hand. We manage to sneak into the main building and find Sands in the same cage where Starshine was imprisoned. He spots them, but someone is coming. MC, Lisa and Linda hide and see Katja is there to taunt Sands.

-> She laughs. Oh look, how the mighty fall. Held captive in the very cage where you imprisoned the first soul horse. Another failed quest of yours. You could not get anything done even back then. Maybe I am going to be the new general of Garnok now. Sands tells her no, she isn’t going to be as she is nothing compared to Elise. You are weak, Ice Witch. You compensate well with your smarts, but you always were and will always be weak. And you know Garnok only values raw power. You are nothing to him.

-> He knows this will make her lose her cool. Linda realizes this is an opening and attacks Katja. They duel and Katja is too angry to concentrate. MC and Lisa get the cage open and get Sands. Katja wants to shoot him with dark power again, but Sands throws it back at her, weakening her a great deal. Katja uses an illusion spell, but Linda had enough of her magic. She counterspells, makes Katja lost in her own illusion labyrinth. The team runs and gets on the horses. Alex has stolen the remote opening the gates as Lisa instructed and we escape. We get to the shore and the ferry takes us back to Cape Point. Justin meets him and Sands says sorry for everything.

-> Mr Sands reconciles with Justin and the Baroness and moves back to Pine Hill Mansion. The Pine Hill Championship is unlocked. He becomes our ally, gives the Soul Riders important information about Dark Core and the Dark Riders. He promises to help us against Garnok.

-> MC has a vision: Darko has been stuck in the realm between worlds ever since Elisabeth’s sacrifice. Now Garnok needs a new general, so he rescues Darko. MC tells this to the others and Sands warns them that Darko is unpredictable, dangerous, very power-hungry and not to be underestimated.

PART 2: Cleansing Starshade Woods

Gathering intel:

-> The Nightmare Woods are still inaccessible, infested with darkness and shadow seekers. Team meets up in Meander, Linda’s idea is to check on Mr Sands and ask him for help in cleansing the Starshade Woods. MC and the Soul Riders ride up to Pine Hill Mansion and knock. A very grumpy Mr Sands opens the door and tries to send you away. You convince him to let you in, but he continues to be extremely grumpy. He leads you to the library.

-> You ask him what he knows about the Nightmare Woods. He tells you it is was the dark side’s plan to stop you from accessing the Secret Stone Circle, Darko, Jess, Katja and Sabine all kept throwing their worst dark magics to corrupt the forest. Over the years, the Starshade woods got so dark, the druids had to leave, the rangers had to leave and now noone dares to go into the haunted forest. Sands doesn’t remember all the monsters and magic that was thrown in there, so the Soul Riders keep investigating and find lists of them.

-> Sands also tells you, that the forest has a dark secret, but even he doesn’t know what it is. You have to find out if you want to cleanse the forest. Going around Winterdale, asking to people about the Nightmare Woods. Long investigation, eventually you go to Lord Marchenghast, but he only gives you cryptic answers. You investigate the Baroness’ and Fort Maria’s library too to find out more about Lord Marchenghast.

-> You find out what happened in the Starshade Woods hundreds of years ago: that was where the witches (druids) were burned. You and Linda go to Marchenghast Castle to confront the lord about it, but you cannot find him. You go into the castle and get lost in it, realizing it is cursed. You keep wandering and see the pieces of history as it was basically a tragic misunderstanding and the then young and gullible Lord Marchenghast was pressured into ordering the burning of witches. He and the castle was then cursed by one of the dying druids to suffer misfortune until he admits the truth. You and Linda finally find him in the „throne room” of the castle. Linda realizes using her powers, that the visions were not the complete truth, the castle shows you the lies of Marchenghast. You get him to admit he is not blameless in the tragedy and it is his fault as well. When the truth comes out the curse of misfortune is lifted. Marchenghast gives you a diary of the events.

-> The main story continues as you prepare for the Battle for Starshade Woods, but the Matchenghast Castle side quests are now opened. Lord Marchenghast wants to open the castle as a museum for the public and host an equestrian championship. MC is tasked to try to convince people that the curse is gone. You get merchants and horse people to come and organize the first Marchenghast championship. As the name roughly means „dark fairy tale” new magic horse breeds will be available to buy here after you do the introductory fairy tale quest line for them.

Preparation:

-> MC and the Soul Riders make a plan for the Battle for Starshade Woods. Now you know the druid ghosts, that originally haunted the place and the dark creatures the forces of evil put there. You have to find ways to neutralize each. Linda briefs you on the plan: come back every day to decrease the darkness of the woods to a manageable level until we can finally go in to cleanse the forest. You get a progression bar and have to complete daily quests for some weeks like with the Rune Runner grind.

-> You get multiple, various dailies every day. One quest is always soul riding, where you are sent into the edge of the forest to close a portal, vanquish a dark creature, etc. The other two are coop quests with one of the Soul Riders. With Lisa, you sneak in, avoiding the hostile creatures and heal and cleanse plants and animals from the darkness. With Alex, it is basically a sniper mission, you ride to a high point and shoot Shadow Seekers with lightning. With Anne, you use your light powers to dispel the dark wisps, collect their light and use it to cleanse a patch of forest from the darkness. With Linda, you ride to certain points in the forest and dispel Katja’s illusions by playing various mini games.

-> Every time you reach a milestone in the progression bar, you get a quest about the druid ghosts that died or were burned in the forest. The druids were five in total: Nimue, Moria, Lucius, Einar and Rosalind. You have to help the ghosts find peace. First, you find them in the forest, then you solve their murder (for example one was frozen to death by Katja), you make their last wish happen (e.g. take their bones out of the forest and to the place where they want to rest eternally) or bring their descendants to meet them (convincing people to come meet a ghost in the haunted forest is tricky). Lucius was Marchenghast’s friend and now wants revenge on him. MC convinces him to just talk and maybe tell him to go to hell, but Lucius ends up forgiving him and from now on lives in the castle.

-> Rosalind is the last one, who wants to meet Sands when you tell her he is alive to make sure he is okay. You bring Mr Sands to the Nightmare Woods and Rosalind says goodbye and tells you all that now she can rest in peace. The progress bar is completed and the Battle for Starshade Woods can begin.

Battle for Starshade Woods:

-> Druids, Soul Riders and MC gathering in Meander again. As the darkness decreased in the woods, Sabine and Jessica appeared attempting to restore it. You cannot let them undo your work, so it is now or never. The plan is to sweep through the forest, dispelling the final remnants of darkness and cleanse the Starshade Woods for good. The battle takes three days.

-> On the first day, you go into the part east of Crescent Lake station and disperse the remaining Shadow Seekers and dark wisps with the soul riders. The druids march behind you, cleansing the trees and animals. You get to Crescent Lake station, but Jessica is waiting for you there, defending it. Boss fight: she stands in the middle with a magic shield around her, powered by Shadow Seekers she summoned. You have to charge your lightning powers with the „catch a runner” soul riding mechanic and shoot the shadow seekers. After that you can hit her shield and defeat her. If the timer runs out she releases a dark explosion that knocks you out and you have to start again. When you defeat her, she retreats into the dark woods. You have taken the eastern part of the woods back.

-> The next day, you meet up in Cape Point village and do the same dance. You cleanse the part of the forest west of Storm Hill with the druids coming behind you. Sabine is waiting for you at the top of Storm Hill, promising she won’t go easy on you like Jess and makes a circle of fire around her and MC. Her bossfight works similarly to the Mr Anvir fight in Pandoria, except she is the monster chasing you. You have to dodge waves of fire, falling firebolts, gather sparks of power the Soul Riders summon to charge your attack and then run into her. She flees and you have Storm Hill Station.

-> The third day, you help Lisa and Anne first in pushing the front in Crescent Lake, then you fight with Linda and Alex in Storm Hill. In the middle you find Darko who is ready to unleash a massive dark creature he borrowed from Garnok. The thing is standing behind him in a cloud of darkness and you can only see its glowing evil eyes. Darko says if the forest can’t be theirs then it will be noone’s and the creature will have it. Mr Sands appears and taunts Darko. He says maybe you got what you wanted but it is not as easy being Garnok’s general as he thinks. Mr Sands counterspells Darko and the creature attacks its master. Darko teleports them both away in a panic and we win. Linda asks Sands if Darko is dead, but Sands says probably not, he has proven quite difficult to get rid of. -> The Nightmare Woods are cleansed and it returns to its original state: the Starshade Woods. It looks similar to the Hollow Woods, but with blue wisps flying around and also has a mother runestone and quests. Now we can get to the Secret Stone Circle on foot and the Winterdale rangers send people to the Crescent lake and Storm Hill Stations. The Starshade Championship is unlocked.

PART 3: The Kallters

The Blizzard:

-> Katja appears once again and unleashes a blizzard, but only on the Rimefang Woods. MC and the druids want to help, but noone can reach the kallter village unless they are invited. MC goes into the blizzard into Rimefang Woods anyways, trying to dodge the wolves. They start chasing MC and you run, but end up cornered in a gorge. A kallter girl Erika and her wolf Idun appear and save you. She leads MC to their village.

-> You meet the kallters: the council of leaders are Takuraq, Sedna, the high priestess and Uyarak, the spiritual leader (kind of a druid) whom you already met in a previous quest. Erika is the daughter of Takuraq. You have already met Nanook, who is a horse breeder. Malina and Anniq are the twins of Sedna, girl with golden hair, boy with silver and they do a little moon and sun circle magic. Kauyar is the main wolf trainer and Nasami is his wife.

-> MC is led into the communal hall and the council of elders accept your help against the wolves and Katja, but you have to gather reputation before progressing with the main story. Erika introduces you to the kallter village. It is in the middle of the Rimefang woods, next to a small lake. You have fishing dailies here. All of the kallters have their own tame wolves that keep the wild ones away from the village.

Gaining their trust:

-> In order to be able to properly help them and move around in the forest, you need a wolf. MC is sent to speak with Kauyar, who helps you bond with a wolf. They will run next to you in the Rimefang Woods and keep the wild wolves away so now MC can go wherever in the Rimefang Woods. You name it like you name a new horse you buy.

-> MC gathers firewood in the forest, helps repair the village walls, lights fires that the storm estinguished. In the forest, you have to hide from the flash freezes and dodge icicles, like in the first storm when you entered Winterdale. You have chores in Nanook’s stables for the fjords. You are introduced to Silver Runebark, the kallters’ Life Warden tree, that keeps Katja’s storm from destroying the village. When running around in the Rimefang Woods, you can sometimes see a wolf bigger and meaner than the others watching you. The kallters tell you it is called Amarok, but are strangely secretive and refuse to tell you more.

Fall of the Ice Witch:

-> Once you gathered enough reputation, the main storyline continues. The wolf pack of Amarok attacks and MC helps Nanook protect the kallters’ fjord horses. Katja is there, helping the wolves wreak havoc and using her ice powers. She says she has finally come to have revenge. MC helps stop her from freezing the village, but Nanook is cornered by the wolves. He turns into a bear and fights Amarok. The wolves are driven back and Katja flees.

-> Sedna and Nanook tell MC, that Katja is half kallter and hates them, wants to destroy the village. Nanook and his brother were cursed by Katja into a form of a bear and a wolf. MC agrees to help break the curse. The brothers have to trust each other again to break it (Amarok thinks Nanook betrayed him). Sedna and the twins help MC.

-> You have to find clues on how to break the curse. With Erika, you sneak into the den of the wolf pack using your magic. You find the writings of Amarok that he wrote before going crazy and permanently becoming a wolf. It tells you the full story of how Katja became like this. For looking different, having strong powers and being only half kallter the villagers treated her like an outsider and blamed her for every bad thing happening. She eventually got recruited by Garnok and destroyed the kallters’ previous village in Dino valley, making them leave for Winterdale to find a Life Warden Tree, that can protect them from the monster they created.

-> You confront Sedna and Nanook with this and they admit it is the truth. Nanook also chose the village over Amarok at one point and he is bitter. Amarok in turn used his wolf form to hurt Nanook’s horses and the cycle goes on. Erika says this is stupid we cannot be like this or the village is done for. Katja appears in front of the gates. She says now you see MC, I have a good reason for doing this. Help me get justice. MC says no and Katja unleashes the strom, blasting open the gates and the wolves pour in. Nanook changes into a polar bear and fights Amarok again, wins. Katja wants him to give in to hatred and strike Amarok down. This way he would complete the curse and stay as a bear forever because of his hatred. MC shouts to him not to and Nanook realizes. He changes back into a human and holds out a hand, saying i forgive you brother and hope you can forgive me as well. Amarok has managed to change back to human as well and takes his hand. The curse is broken. Katja shrieks impossible, but she cannot do anything. MC and Sedna unite their power and dispel the storm and Katja flees. Amarok returns to the village and the wolves of the Rimefang woods are no longer hostile.

-> Unlocking the Kallter Championship. You are rewarded with 100 Star Coins as it is the end of a big main story phase. The Wintersoul grind: the second "free" horse, like the Rune Runner. Now that you have completed the kallter questlines, you can start the soul riding-like grind and reputation collection with Uyarak. The Wintersoul is a special silvery-gray kallter fjord horse with ice blue kallter markings and it wanders in the Rimefang Woods. It was created when the a remnants of katja’s evil storm was trapped in a horse that ran away from Nanook’s stable. It has part of Katja’s power, freezing parts of the forest around it, needs to be tamed and who better to take care of it than MC.

PHASE 6 – Apocalypse

PART 1: Ashland and Sabine

Frostfire:

-> The dark side is properly angry now, that you have defeated every one of them again. They gather more dark power and openly attack Winterdale, sending Sabine to wreak havoc with her fire powers. Sabine always wanted to prove herself as best- now she wants to prove herself to Garnok, drunk with power.

-> The siege lasts a week, Sabine attacks different magical parts of the valley each day, until she depletes the powers she got. Every day MC gets called to a location and has to stop her. She brags about showing you all, that she is better, stronger, than Katja, who failed, just like Sands. Once the week is over she leaves and noone like the calm before the storm. The Soul Riders decide you have to figure out where she went, but before you could get on with it the earth shakes and there is a plume of smoke rising from Ashland.

Ashland:

-> This is bad. You have to get there to stop whatever Sabine is doing before she makes the volcano erupt and destroys half of Jorvik. First, you five are taking Avalon, Evergray and a Winterdale druid and ride to Explorer’s Rest and a ranger escorts you to Frostfire pass, but it is still frozen over. The druid says there is another way into Ashland. You ride to Dino Valley, but of course the path is still frozen.

-> The druid directs us to go talk to the Life Warden Tree of Dino Valley in the summit. Glacier Heart is peacefully slumbering still and we debate how to wake her. Before the team decides on anything, the ground shakes again and she wakes. At first she gets angry at you, but you manage to explain to her, that this is not your doing and you want to go to Ashland to stop it, but the path is frozen. Glacier Heart sighs: Do I really have to talk to her? Can’t you people just melt the ice of the road? The druid tells her respectfully that we are in a hurry, trying to stop the volcano from erupting and covering half of Jorvik in ash. That does it, because Glacier absolutely does not want warmth in her valley.

-> You can hear the telepathic communication between the trees. Glacier Heart calls out to her sister, Fire Glory in Ashland. She is very chatty and very ADHD and very excited about everything. It takes some tries for Glacier to explain to her that people want to go to Ashland, but the road is frozen. Fire Glory is very excited that she will get visitors and says hold on one second. She uses her fire powers to melt the ice on the road and the path to Ashland is finally open.

-> The team rides to Ashland and arrives in Ashfall village. There is a small community living there, some families and druids. The people grow extraordinary fruits and plants in the volcanic soil and the druids are stationed there to watch the volcano. Ever since the first quake, ash is falling from the sky like snow and the ground shakes here even more often. You ask about Sabine, but they didn’t see anything as they had to hide. You leave your druids in the village and go to ask Fire Glory about her.

Firefall:

-> Meeting Fire Glory, who is on one of the surrounding peaks, overlooking a valley. She likes the warmth in here, can’t image living in a cold place like like Dino and won’t shut up about how much she finds the fires beautiful. Linda politely shuts her up saying surely she would not want the valley to burn tho. She says no and we ask her is she saw Sabine. She did see her.

-> First, Sabine went to the caldera, and tried to control the fires to empower herself, but could not. Glory then saw her running around in the valley looking for something. We ask if she knows what, and the tree tells us about the Firestones. Hundreds of years ago, then the mysterious meteor shower rained pandoric stones, many landed in Ashland. Along the years they collected the fire energy of Ashland, and their pink glow turning to orange, they have become Firestones. Sabine is probably looking for these.

-> The Soul Riders and MC run around Ashland to collect the stones before Sabine does. Two progression bars show your and Sabine’s stones collected. When you found all you can, you return to Ashfall village as the druids found some more firestone locations. You go out, get them and now you have more stones, than Sabine.

-> When you return to the village however, you find the Soul Riders locked in anti-magic nullification circles. They tell you Sabine came and she was stronger than the four of them and she kidnapped Avalon. Alex tells MC that you are the only one still strong enough to defeat her, that’s why she attacked them separately. Sabine called you all to the volcano to surrender or she throws Avalon into the volcano.

-> You five ride up to the caldera. Sabine is at the edge, holding Avalon with magic over the lava. She’d drawn five more anti-magic circles and orders you to stand in it and surrender. Your lives for Avalon’s. The Soul Riders and MC all do, their powers are useless now.

-> MC has a plan to play on Sabine’s weakness. You kneel before her and admit defeat, saying she was right, she achieved what Sands could not, succeeded where Katja failed and Dark Rider Malumi is really the strongest opponent. The Soul Riders look at you like you’ve lost your mind and their reaction sells it to Sabine, who lowers her guard. Then you push Sabine and blast her with lightning and reach out for Avalon, barely catching him. Sabine falls into the lava and as her concentration is broken so are her magic circles and the Soul Riders help you pull Avalon up. Alex says nobody tell Fire Glory, but I fripping hate this place.

-> You collect Sabine’s firestones and go back to the village. As you have no use for them, you take them all to Fire Glory. She is very happy and melts the ice blocking Frostfire pass, opening the final blocked path to Winterdale. You ride back there.

PART 2: The Fall of Pandoria

Spying:

-> With Sabine gone, Katja weakened and Darko hurt by his darkness creature the Keepers of Aideen decide it is the perfect time to strike. Council meeting in the Secret Stone Circle, making a plan for how to defeat Garnok. Fripp tells us that he found the weakest point of Garnok’s prison: the Pools of Pandemonium in Devil’s Gap. He tells us that as of right now, he is imprisoned between the dimensions, that’s how he is able to access both Earth and Pandoria and that is how he was able to get Darko out of there. We debate different plans, but no decision yet.

-> The Soul Riders gather in Fripp’s rooms below and say that Linda and MC should scout DC using visions. You sit down to meditate and a series of cutscenes take place. First you see Darko standing in front of the portal, talking to a shadowy figure in it. They talk about Garnok’s return approaching, but the plans have been set back, since Sabine fell. The dark figure says my return also nears, you just have to buy some time. Darko asks what strategy you suggest and the dark figure says: They are so trusting in each other, it is disgusting. Time for some doubt. Conquer and divide, sow discord, make them make a mistake.

-> Darko’s evil plan, what we don’t see, is to make the Soul Riders send Garnok to Pandoria, where he will gather even more energy, will be stronger than ever and will be able to finally anchor himself to Earth. Darko knows MC is spying in a vision and he stages a scene. MC and Linda see him and Jess talk about how they must stop the Soul Riders from banishing Garnok to Pandoria.

-> We tell what we have seen to Fripp, not knowing this is a trap. Fripp thinks it makes sense. We have to sacrifice one world to save the other. We tell this to the druids and they agree to the plan, believing Garnok will be powerless and unable to reach Earth anymore if we manage to banish him to Pandoria. However this decision really divides the good guys, as a lot of druids believe Pandoria is not evil, there are creatures living there and the Keepers swore to protect all life. Evergray doesn’t like it either: How would you feel if someone decided Earth has to go, just so your world can live?

-> Ydris appears: How indeed. I believe one would feel quite resentful towards said people and would swore never no help them with anything ever again. Some druids ask him how did he get in here, but he just point at the runestones. I am pandorian you imbeciles. Typical humans. You surround yourselves with the magic of my world, take what you want and let the rest rot. Don’t count on my help when Garnok comes to destroy you all. Zee rears and they vanish.

-> The druids still go ahead with the plan. MC and the Soul Riders are piecing together the ritual that they will use to imprison Garnok in Pandoria. You go to the libraries of Silverglade, Fort Maria and Pine Hill with Linda to study magic circles. You gather magical herbs with Lisa, practice portals with Anne and go to Pandoria with Alex to gather crystals.

-> Now you only need to go to Devil’s Gap and convince Sive to let you do this. Linda stresses the whole way how will you convince Sive to give up the ancestral home of the vala (even if they drew power from Garnok’s prison), but when you get there she’s nowhere to be found. The Chaos Vortex is worse, than ever, a storm is raging above the gorge and lightning strikes. MC goes well that was easy, but Linda says easy never meant anything good for the Soul Riders. You go back to Fripp to report that you are good to go. Your final quest is going with Anne to close all of the portals to Pandoria.

Devil’s Gap:

-> Arriving at Devil’s Gap: the team still debates wheater they should do this, but settle for yes, they won’t have another chance like this. Using the many narrow, winding stone pathways of the valley you draw the lines of the magic circle. At certain points you carve pandorian runes into the rock walls as makeshift runestones. You make the whole valley into a big magic circle to open the gate of the prison for a moment, then banish him to Pandoria. The success of your mission relies on the fact that he is technically still sleeping.

-> Once the magic circle is done, however, Garnok stirs. MC has to ride with each Soul Rider to four different points of the valley and help them activate a rune, before riding to the middle. While riding through the pathways Garnok’s tentacles appear (like in SSL 4 and when you escaped Pandoria after finding Anne). You activate the four runes and manage to ride to the middle to complete the ritual. Garnok roars, a portal opens and the dark presence leaves the Pools of Pandemonium and is sent to Pandoria.

-> The good guys think they have won, but trouble hits immediately. Darko appears on one of the rocks above you, laughing at how you fell right into his trap. He meddles with the spell. Linda and MC have a vision of Garnok turning Pandoria dark blue and purple, breaking the islands and laughing, deep as an earthquake rumbles through the doomed world.

-> You have to act immediately. MC and Anne open a portal to Pandoria and the Soul Riders go there to stop him from destroying all of Pandoria. Once he’s done, he will also come for Earth, your only luck is that he is too busy breaking Pandoria. Linda directs you to make a binding rune, similar to what you did in Devil’s Gap. Riding around, dodging his powers. You manage to contain Garnok in Pandoria, but the realm now answers to Garnok and tries to kill you. Escape from Pandoria, the portal is collapsing. Some sun circle druids sacrifice themselves, staying behind to stabilize the portal, while we escape.

PART 3: The Hope of Pandoria  

War effort:

-> Pandoria is off-limits now. All the portals are closed and the locations are guarded by druids to alert us if anything tries to come through. Garnok is empowered by Pandoria and even through he cannot come to Earth, his evil magic can reach it. Garnok-effect appearing everywhere in Jorvik, the sieges led by Katja, Jess, or Darko. MC has to fight it with soul riding quests.

-> Chaos in Ashland, a fiery entity terrorizes the valley. The Soul Riders are sent there to investigate. Sabine returns as a flying fire-ghost entity(the ghost model is like in the picture in SSL 3's Pandoria) and she is really pissed at you. She joins the sieges.

-> This cannot go on, we need a plan. MC suggests to use Jessica. We need information, have to find out how to defeat this kind of void power and how to seal Garnok back to sleep. Jess has a rivalry with Katja and still wants to outdo her to show Garnok she is the stronger one. We organize an ambush: Anne is the bait. When she attacks her, all of us appear and say we just want to talk. We manage to strike a deal with her- in exchange for information, she will have a victory over us that Katja did not. Some druids and Anne are against this plan, but they have to make a sacrifice to have a chance.

-> Jess tells the info we need right away. Anne is suspicious, says she must be lying, why not wait until we fulfilled our promise? Jess says because she can count on the good guys being disgustingly honorable and if she told something useful, they will surely make good on their promise. Jess reveals that Pandoria can be saved if we bring Garnok back to Earth to his prison. The prison ship also used the dimension between world to keep him imprisoned. If we manage to do this, his generals will lose a good deal of power also. Linda still uses moon power to see the truth and announces that she’s not lying.

-> Agreeing on the plan: the Soul Riders are to attack the DC Barricade, pretending that we are trying to free the creatures and get the artifacts. Now we cause all kinds of havoc in DC territory. Katja and Jess arrive to protect it. MC and the Soul Riders have set a trap for Katja and we imprison her in a circle. As Darko arrives Jessica attacks us and we pretend to fall back to put on a show for him. Jess got a good point from Darko for defending the barricade, while Katja failed again.

-> We tell the information we got from Jess to Fripp and he agrees to the plan. We need to try and save Pandoria even if it means endangering Earth, as we cannot let another world be destroyed by Garnok. We just need to convince the druids of it when we get the chance.

Shadowfrost

-> Evergray calls us to meet in Valedale. Why hasn’t Sabine come back to her human form? Evergray suggests the Dark Riders can be defeated by the combination of their own power and their opposite Soul Rider’s. For Sabine it was fire and lightning. Jess must be defeated by darkness (in Pi’s swamp) and Anne, Katja by ice (in Dino vale) and Linda. We plan to make these happen. We split up: MC helps Anne and Lisa defeat Jess first, while Alex and Linda prepare to defeat Katja. If we manage they too will turn into elemental ghosts (shadow and frost), like Sabine. They will still be able to fight us, but without human consciousness, just as primordial powers. Until they get their bodies back, this will leave Darko alone in fighting us.

-> Anne and Lisa lure Jessica into Pi’s Cauldron Swamp, playing on her pride. Anne can go all in, make it seem like she gave in to hatred, then when Jess is sure she will win, Anne reveals Jess has walked into a trap pursuing Anne. She stepped in the darkness seal made by Pi, which draws power from Jess’s magic. Lisa, Anne, and MC focus their powers on Jess, she disappears, a dark ghost flies away from the swamp. This was the easy part.

-> MC, Alex and Linda go to Dino Valley, but Katja knows already what happened to Jess, she is angrier than ever. Finding her at the Ice Witch portal, she attacks us. 1st race through Dino: to lure her to the frozen lake, where we can fight her. 1st phase: Soul-riding-like bossfight in the frozen lake, Katja has a frost shield. Dodging icicles, Linda helps see where K’s magic will hit, so MC can dodge it, Alex shoots her shield with lightning. MC has to keep them ice-free, free them if they are iceblocked. Without Linda, MC can’t see where the ice will hit and without Alex it is only her shooting the shield. After removing half of her shield here, Katja starts breaking the ice on the lake.

-> 2nd race: to the higher valley, through the pine forest. The 2nd phase of the fight takes place amidst the ice columns, same fight, lightning strike her, remove her shield. She is defeated, but with the last of her power, summons illusions of many characters, hides herself as one of them. Linda and MC is find the one and point at it for Alex to blast it with lightning. When Alex turns, the illusion wears the body of James. Katja begs Alex as James not to hurt him, but Alex collects the storm from above the valley and lightning strikes her. A frosty ghost flies away. Cutscene: Darko roars and curses before the portal of DC platform as the three elemental ghosts hover before him silently.

Saving Pandoria

-> Soulriding stuff all over Jorvik, fighting the three Dark Rider entities. The Keepers try to agree on the plan. The options: A, Fully sever G’s connection to Earth and get rid of hom for now (he still may find a way back later) and let Pandoria die, or B, Save Pandoria by bringing Garnok’s full consciousness back to his Earth prison, just like Jess said. The alliance finally decides to try to heal Pandoria, sever Garnok’s link to it and defeat the monster on Jorvik for good.

-> MC and the Soul Riders are going to the Garnok-ruled Pandoria: instead of pink, it is dark blue now. We are trying to stay hidden and set up a base camp. Anne really hates being here, we have to talk her into not breaking We have to avoid Shadow Seekers and corrupted creatures. We manage to heal a small bit of Pandoria.

-> Darko notices this and comes to confront us. He siphons power from corrupted Pandoria and gives the Dark Riders their human bodies back. They are so empowered, they are just toying with us. We take part in the three bossfights for each of them, losing in each. Our Soul Rider partner magics us to safety every time, but ultimately, it seems like we have lost. Our Aideen magics start to weaken as Garnok gets stronger. His giant silhouette appears on the horizon in the distance in an epic shot.

-> MC still wants to try and fight Darko, but he blocks all your pathetic attempts at magic. The Soul Riders are on the ground, giving up. Even Lisa says all hope is lost. Then, Ydris appears with the Hope of Pandoria to save the day. For him it transforms from a fridge into a pink and golden blazing Sun and flies up to the sky its searing rays of light burning away garnok’s darkness. The low roar or a kraken reverberates from the distance.

-> Ydris combines his power with the Soul Riders’ and MC's, but Anne is still on the ground. He shouts at Anne: Stand up Sun of Pandoria and help us send him back to his prison! Concorde walks to her and holding onto Concorde, Anne is pulled to her feet. She guides the spell, and we banish Garnok from Pandoria completely, back on his prison ship on Earth, fully anchoring him to Jorvik. Darko and the Dark Riders are also sent back to Earth.

-> Linda walks up to Ydris to thank him, but he says he is still angry at them for doing this to Pandoria. He only helped the world, but still won’t ever help us again. Pandoria is accessible again, but parts are still corrupted and in ruins. Garnok is banished from Devil’s Gap and the Chaos Vortex disappears.

-> Victory, end of main storyline in Winterdale. You get a reward of the final 100 Star Coins upon returning to the Secret Stone Circle and the druids talk about possibly soon heading north to meet their brothers and sisters in Spring Valley.

TO BE CONTINUED!

THE OTHER PARTS:

SSO Rewritten 2nd Part: Springvalley https://www.tumblr.com/starshinedragon/716459529087401984/sso-rewritten-springvalley?source=share

SSO Rewritten 3rd Part: Summerplains https://www.tumblr.com/starshinedragon/726343248992419840/sso-rewritten-full-story-series-summerplains?source=share