#tlgtw ask

[tlgtw]

Aside fromsoft, are there any fantasy game settings/stories you're into?

Like what was the first game that pulled you in and before you realized you were checking dialogue for inconsistencies?

Zoooooomg, I *wish* had any other answer for this but the first game that "pulled me in" indeed WAS a Fromsoft game; and it was Bloodborne.

This came around a few months after it came out, (Meaning I was 14.) and I'd wanted Bloodborne the whole time because of how wicked fucking awesome it looked. (even if perhaps I was a little too young for it.)

I can't remember how, but by some means or another leading up to or concurrently with Bloodborne's initial release I got into all the "Loretubers" from that time, as they're known now.

VaatiVidya of course--most likely he was the first person I ended up watching, but also the other ones. Like the one who wrote that big book about it basically called like "The Paleblood Hunt" or something, and a few others!

The most significant of which I can tell you for a fact was the 'late' Jerks Sans Frontieres.

Her videos shot straight into my spinal cord because she wasn't a summarizer. She, in a similar sense that I am now, was a detective.

At that point I was still purely an audience-member for that latent genre of YouTube videos. As the consumer I enjoyed all of them, but I liked her's best. And I must've rewatched each of her Bloodborne videos at least a half-dozen times before I finally got my hands on the game myself--for my 15th birthday--and I got *so* scared by my experience in Central Yharnam that I think it took me days to pick up the controller again the second time.

I legitimately considered returning it! It was my first FromSoft game. I'd never played something that just, say, *didn't* have background music all the time, for example. I remember it still, clear as day, how unnerving it was just walking around the early areas hearing just your footsteps and the background rumble and when I was unlucky the screaming sounds of the crows and other enemies.

Precisely, when I first came up that ladder to the Central Yharnam checkpoint, when I heard the scream of the Cleric Beast, it scared me out of my wits so goddamn hard that I stopped moving for like 15 seconds.

I was still *just* turned 15, but at that point I had watched all of Bloodborne over and over again like 80 times. I'd watched tutorials and build guides and cheese strats and weapon movesets and everything else I could about that game, before I finally got my hands on it. I thought I would be, at least, ultimately okay. Cause I would still know everything I'd have to do.

I was wrong.

But I did get through it, hahaha.

In-fact I ended up getting through it so hard that by the time I got my hands on the actual DLC, my main save file was in NG++. So the first time I beat The Old Hunters was in NG++.

Fortunately I was very grinded-up so I think ultimately the experience balanced out.

And nowadays I've beaten Bloodborne so many times that I have the entire level of Central Yharnam actually memorized. Until a few years ago could've draw an accurate map of it from memory (and I have).

With Bloodborne being my introduction, as it were, to the concept of Videogame Story Explained Videos, it was also my introduction to the concept of seriously reading a videogame's story in the first place.

What this wasn't, yet, was me actually going in *myself* to actually cross-reference item descriptions and dialogue, for my *own* understanding. You don't do that sorta thing unless you're specifically involved in discussion. And I was involved in *no* discussions in 2015, or 2016, or '17 or '18 or '19 or anything all the way up to until 2022, because online I have the tendencies of a weird hermit.

Although that is me exaggerating. In truth prior to my dealings with Elden Ring I had been a Redditor and I talked (argued) about the story details of Little Nightmares 1 and 2 (My favourite games.) on the subreddit for those games. By then I had already become the kind of person I am still now, most of all in my disinterest in finding any answers regarding a fictional story that can't account for every extant element... of that story. (As you've seen, and will see more of in Episode X of ERwSET. When an idea I have appears to conflict with work in subject, I drop the idea. And develop one that doesn't conflict with it instead. This is opposed to the alternative of making up reasons or justification to keep the initial idea regardless)

No doubt doing that instead would probably make me a lot more content to make money with... Personally, doing so isn't engaging to me, because I am already someone who writes fiction. And in my opinion, "Videogame Story Explained Videos" are fundamentally a non-fiction genre of video, and for me are more interesting in general when they conform to that, because they interface directly with the media itself, and the material that media's author's put into it. Rather than just the individual video creator's personal experience of that media, of that material.

In part this comes from my background as someone who writes poetry and fiction. Of course.

*Of course,* an author who writes and puts meanings into material themselves, finds themselves more interested dissecting the material and creative decisions of *other authors,* who do the same thing, as opposed to the material and creative decisions of just *other readers.* Who most of them don't--generally maintaining more humane professions and areas of expertise instead.

And probably this is rooted into my tendencies as a 'weird hermit,' too. But, from my perspective, if I wanted to see what a fellow member of the audience thinks are the inner working of this character or imagines regarding the off-screen elements of a story, I would read their fanfiction.

...

...

That is of course reductive, but I think saying it like that is really funny, so that's why I'll be still saying it xd.

"Everyone consumes, but not everyone makes," you could say. The same way there are less farmers than people in the world. There are less writers than readers in the world. When I analyze a work of fiction, underneath it all what I'm looking for is to see what decisions the authors made, for *their final product:* "What does that do?" "What does this do?" "If it was different, what would that make?" "What does this matter? Does it?"

"Would I do this too?"

And this interest excludes the question of 'why,' predominantly. I'm not interested so much in wanting to know 'why,' because the only way to learn that is if the author themselves actually decides to share "why." I'm interested just in what the final decisions "are."

"Why'd the author decide to make this character do this?" Well, maybe they were really hungry that day. Or maybe they saw an ad on TV. Or maybe they were talking to their friend about something unrelated and their friend happened to say a phrase in a peculiar and cool way and the author decided he wanted to make use of that, too. And everything else that encompasses the spectrum of the human experience.

"Why" is whatever it wants, it's not like it would change what the final product "is," right?

And of course this doesn't preclude the fact that author's can just *lie* about their motivations too. For that reason, actually trying to find out 'why' is generally an impossible task.

And I'm not interested in pursuing those/I'm not interested in not #winning.

Perhaps this, you could say, then, is the ultimate source of my attitude. Not in the way that it's why I actually decided to write and draw and voice and edit my 80% Elden Ring lore series and 15% weird cartoon; "Elden Ring Explained with Snake-Eyes Teieruji." I did all those for completely circumstantial reasons! (And I go into detail about them in Issue #0 of the Kinda-Monthly Newsletter.)

Nor even in how my show is... the way it is! 'Cause even that is just me being really really slow and meticulous, (as you've no doubt suffered) and anyone can act like that~!

But it is, perhaps, what made me come up with the idea of making such a show as ERwSET, at all, in the first place. (And you can also read about the *second* major exclusion in my recounting here from that same article in Newsletter #0, which was the Sekiro-related project for which Snake-Eyes Teieruji was actually created, that didn't end up going anywhere.)

You'd have be a pretty specific kind of chucklehead to actually think of doing, specifically all this; y'know?

But you may be surprised to learn that I'm normally not like this at all, when I play videogames. Most of my creative energy in such regards are channeled into my poetry, art, and fiction. When I eat games, or movies, or books or TV, I don't really feel a want to find out "exactly what the author did for this character" or "exactly what elements of this scene connect with another scene" because I guess, perhaps, I'm too occupied with enjoying myself...

Hm.

Well, maybe it'll be more accurate to say that what I'm presenting, "of myself" in ERwSET, is effectively extremely extremely scripted and deliberate.

I spend months writing my scripts. (sorry about that.) And those months include the meticulous cross-referencing and fact-checking that gives those videos their noticeable pow.

It's a large amount of *work,* that that is. The desk-jockeying kind. And it's not something that can just do itself when you're relaxing playing any game normally. (I'll never just stop what I'm doing while playing a game to fact-check whether I'm currently right about something, while I'm still in the middle of playing it.

For example in my first playthrough of Elden Ring: I wasn't actually sure how Marika's name was spelled until I had finished my first playthrough. That I wasn't sure if it was "Marika" or "Merika" at the time just legitimately didn't concern to me. I just didn't pay that close of attention whenever I passed a Church of Marika or whatever to actually remember how it spelled her name, afterwards.

I actually kept a journal to keep track of all of my sidequests and stuff for my first playthrough, too! So maybe here's another example, haha:

And here's one more dfbjkskjdbfbkjsdkjbfsjdsf. These are all things I actually wrote down in the middle of playing the game so reading these myself is really fucked up I just remember what I was doing when I wrote them:

What I'm referring to as 'the fucking castle' there is actually what I thought the Siofra Aquaduct was, the first time I saw it, hahaha. I was even a little bummed out when I actually got to it, I'll admit. I thought it was gonna be an entire dungeon.)

In any case;

The experience of *creating* something, and the experience of *consuming* something, are just fundamentally incomparable things.

You could never figure out how houses are built by just living in one, even if you lived in one for a really long time. Right?

It's that very sort of thing; in terms of cross-referencing dialogue and noting game-wide consistencies and inconsistencies for discrepancies and explanations, no playing a game inspired me do that, or could. It was my becoming an author of fiction that inspired me to do that, and my burgeoning desire to understand the decisions *other authors* made, for *their* fiction.

"I wanna know how to do that too." Right?

Eventually this desire lead to me writing poems instead.

Which lead to me (once I finally became good enough at writing to realize--as related in that poem I flashed from highschool in ERwSET1) disavowing the written word entirely! TOO limited for me, I though...!

Pictures have WAY more pow than words!!!

And that's how I got into drawing...

(which are like *way* more powerful than words, right, like it's not even comparable, the only thing words are up-to-down unbeatable at is, indeed, non-fiction... but also in being a trillion times faster than everything else to actually work with. I have returned to the written word, since then, as you might tell. And I'll tell you that writing also has one advantage that no other skill on Earth has--and that's you can practice it using only your head. Every other skill needs equipment, lit only needs words.)

...which is lead me to my foray *now;* the likes of 2-dimensional medias like video! (visual + audio)

:DDD

But that's maybe not the kind of question you were actually asking, either... so...

Y'know... maybe it actually *is* Elden Ring, that's what 'pulled me in'.

I'm pretty far-in-deep right now in this, aren't I? And I've certainly never been this deep in something before!

How... did I get here...!?

I talk all about this in Issue 0 of the Newsletter as well but it's because of how Elden Ring served to combined FromSoftware's skills in atmosphere, the acting of the characters, visuals + audio, and gameplay, with George RR Martin's skills in actually have a coherent plot to present with those elements.

I've stated so before so I'll say so again that earlier FromSoft games such as Bloodborne and (especially) Dark Souls 3 are, to *a* meaningful extent, "not worth" looking into closely from a narrative perspective. In the way that their stories were never purposely finished.

The Soulsborne games have the reputation of having stories that are predominantly based on vibes, and that's not by accident. They are based on vibes.

Gameplay, atmosphere, acting, etc. Those are things that dictate the vibes. But they're not precise. You can't find the definitive answer to a character motivation in their boss theme, that's music.

*Power,* of course, they have in spades, but obviously not any 'precision.'

As we know, Bloodborne had a lot of cut content. And Dark Souls 3.

And as a result of the same internal situations (i.e. real life reasons like time, budget, and workforce) that lead to all that content being cut, a number of the questions you would ask regarding the plot details in those games, literally do not have answers *in* those games.

The stories of Bloodborne and Dark Souls 3 are ambiguous. But not in the way that there are multiple answers: In the way that there are *no* answers.

Again, that isn't by accident. The games themselves are obviously, literally, finished products. It was deliberate decisions made during production to *remove* material communicating parts of the story, for variable reasons, from what would become the finished product.

Thus, leading to parts of "the story" being, for the reader; missing.

Most people will frame this as equivalent to "the audience deciding what the truth is." And I think this is completely inaccurate.

"The audience can choose what the truth is" is when there would be multiple possible answers. (Little Nightmares 1 and 2 are my favourite games.)

"The audience can *never* know what the truth is" is when there are no possible answers.

And in my opinion they are completely different narrative outcomes. They shouldn't be equated.

...

...not acknowledging, of course, the *massive* amount of subjective legwork the word 'possible' is doing there, with those vibes-based definitions:

"Possible" as in, coherent with what is (percieved to be) in the text... by the reader?

Or "possible" as in, literally possible to be imagined by someone... such as the reader, whoever that happens to be?

The topic is only more complex from there. (All into academia and shit tho I wouldn't know I'm an art school dropout.)

And... almost definitely that's also not what you asked, either...

Hm...

Well, I ask that you forgive me.

As for *why* Elden Ring was special to me, circumstantially, such that it lead to my actually making ERwSET, the explanation for that will remain in Issue 0 of the Members-Only Kinda-Monthly Newsletter.

As to *what* lead to me becoming this way, as you see before you? (Insane.) I hope I was able to answer it.

As for RECOMMENDATIONS, for games in general, that inspire ME, personally!?!?!? (Specifically, in the way that they inspired me to think about the setting and wonder about how things in there connect. These listing might look random but I'm positive they're exactly what you might mean in you including, specifically, what "settings" I'm into. Albeit, you are getting this from a poet. So... there is that as well. I hope if you end up looking into any of these that you do end up pleased with the experience.)

Hohokum (2014), for PS4 and PC

GRIS (2018), for basically everything

Bloodborne (2015), but note it standing directly *on* Elden Ring

Minute of Islands (2021) for PC and consoles

The surrealist artbook "Codex Serafinianus" by Italian artist Luigi Serafini (originally published in 1981, but still added to by him occasionally with an updated 40th anniversary edition having been released in 2021.)

Gorogoa (2017), for basically everything again

Child of Light (2014), also, for basically everything, somehow

Flower (2009), available on PC (and I really cannot overstate how important 'Flower' is to me, I didn't even know games could *be* like that, before I played this)

And of course, my all-time favourite book "The Vine That Ate the South" by the band The Legendary Shack Shakers's basically only actual member, JD Wilkes. (A book that has all-but baked itself into my genome since I first read it in highschool, and the additional 29 times I've read it since. 'Cause I have been counting. I voraciously recommend the Audible-licensed Recorded Books and RB Digital audiobook version; the narrator T. Ryder Smith's voice is a trillion bucks for that book.)

And y'know what I think I'm wanting to mirror this answer directly into the Kinda-Monthly Newsletter itself. Not all my readers follow me on Tumblr, even fewer'll be online at the right time as to actually *see* this post this before it's buried under everything else I'll post afterwards, and I've just spent the last few hours enjoying the hell out of myself writing all 3100 words of it, gyahahahhahaha!!

So, for those who aren't reading this!

Look forward towards seeing it the first time, in Issue #1 of the T-L-G-T-W Official Fanclub Members-Only Kinda-Monthly Newsletter. (The Issue that'll be available for free.)

My reader, I also hope you don't mind your ask ending up inspiring me to do this. But you might be the first of more, too.

So for now, going forward for any questions and answers such as these asked to me (even anonymously) on Tumblr blog, that activate me like this one has; *they* might just end up in the *next* Issue of the Newsletter, too...!

I can't say for certain I'll announce every that do, ahead of time.

But, maybe... you'll just be able to just... tell. Somehow.

Hm

[tlgtw]

What does the TLGTW stands for?

The answer you seek is in here.

[tlgtw]

Hey, I was watching your live reaction stream and really enjoined it! I hope you find time and motivation so stream more often in the future! I have a few questions, but I am especially intriqued by Messmers connection to snakes and the possibly connection to the first(?) burning of the erdtree. Do you have any thoughts on that? And, what do you think about the phrase "they werent saints, they just happend to be on the losing side of the war", that puzzles me ...

Thank you so much for enjoying my stream. I don't know how how much it came through but I was magnum nervous during the whole thing, so it really has been a relief to see that people liked it. I am seriously considering streaming more in the future, but it will depend on other factors.

I will answer your questions:

I don't believe there's sufficient evidence for the Erdtree having been burned anytime prior to when Melina and we commit the First Cardinal Sin. The upcoming episode for ERwSET ends up covering this.

I do believe Messmer is directly connected to a major event from the past, however. In the gladiator equipment and elsewhere, it's mentioned that in pop-culture, the snake is considered a traitor to the Erdtree. Traitor, obviously means that at some point before then, the snake was supposed to be *allied* to the Erdtree.

What kind of historical event, then, did this pop-culture belief come from?

I think Messmer relates directly to that. As he is a demigod, and almost certainly descends from Marika, he and his snakes--I believe--committed some kind of amazing betrayal that resulted in his existence being wiped from the history books. Leaving behind only the vague idea that snakes were the symbol of a traitor among the masses.

An idea that Rykard, perhaps, later co-opted over the course of his own rebellion against the Erdtree.

As for the quote "they were never saints, they just happened to be on the losing end of a war" it's recognized first that the voiceline is being played out of context--so we don't know who the speaker is or what the rest of the dialogue is that they're speaking with. "They were never saints" implies the speaker is specifically agreeing or disagreeing with something that was previously said.

For that, I believe the group that line is referring to is someone we have no idea about yet--a new faction to be introduced in the DLC itself.

If we assert that it *is* a group that has some reference in the base game, however, then I think these people who were 'never saints' could be the Proto-Nox. The Numen people that eventually became the Nox after they were banished underground and built the Eternal Cities.

Or, the civilization behind the 'Ancient Dynasty' that originally built the Urd and Uhl Palace Ruins, the structure in the Lake of Rot, and the Moghwyn Dynasty Mausoleum.

[tlgtw]

Awesome content! I also like the "feel" of your videos, the drawings, the weird and funny jokes .. I hope you'll also cover the upcoming DLC! And now to my question ... I still don't get Hyettas final monologue. I assume shabriri is speaking through her, and the purpose of hyettas existence is merely that we, as the player, want to inherit the frenzy flame - then why is the content of that monologue so vague and puzzling in the first place? And how does shabriri even now such things?

Thank you so much! I'm so glad you like those parts of the show they were very important for me. It means a lot that you enjoyed them.

I will be covering the DLC, but of course since my videos are so precise, I most likely won't be among the *first* videos out on the topic, haha.

As for Hyetta, she isn't translating Shabriri. She's translating the words of the Three Fingers. The same way functionally that Enya translates the words of the Two Fingers.

[tlgtw]

Hey ... thank you for your awesome work on youtube! I wish I could effort to support you, but maybe in the future ... I have one lingering question I still hope to find answers, and maybe you could shed some light on that. The rune of death is, as far as I understood, the factor that is needed to destroy a god in body & soul. And also other living beings, as well as the erdtree. But how do we "lore-wise" kill bosses like Godfrey, Rykard or Morgott?

Thank you for your question, and don't worry about it. My financials may slow me down, but they will never stop me. My heart just won't stop beating.

As for your questions, they're actually answered in parts by my Episodes 1 and 3, but in essence, the powers of the Rune of Death are more one-trick-pony than you'd think.

'Gods,' to start, isn't actually a formal term in Elden Ring's setting. The way it's used by various characters, calling someone a 'god' just means that you think that being has a mega-huge power level: Hence so many different creatures all yet being referred to as gods. (Marika, Marika's family tree, the God-Eating Serpent, the Fire Giant, post-resurrection Malenia, the Greater Will, etc.)

This is also how we're able to kill so many of these 'gods' by simply attacking them. They aren't fundamentally different from mundane non-godlike creatures--Marika, for example, is a human post-ascension-to-godhood. But she was able to have children with the ordinary human Godfrey, starting her royal family's line, without any issues. (Godfrey is referred to as a demigod in one of the items somewhere in English, but this is a mistranslation. Godfrey's an ordinary human like the rest of the Tarnished.)

What the Rune of Death does, when we get our hands on it after killing Maliketh, is specifically (basically) just for turning off the Erdtree's golden shell, from which the Erdtree and its thorns derived their enchantment of invincibility. With the enchantment of invincibility dispelled, *entering* the Erdtree in the first place, which remained our original goal, becomes possible.

How the Rune of Death was relevant in the past, of course, since it was used to assassinate Godwyn the Golden, is in-fact the exact same thing as we do to the Erdtree. Prior to the Shattering, before "the Greater Will had long renounced the demigods," every member of Marika's bloodline shared the same kind of enchantment of invincibility as the Erdtree's golden shell gave it. The name for that enchantment being 'grace,' as we hear so often in-game and as is responsible for fueling our health and magic potions.

As the Rune of Death was used to turn off the Erdtree's invincibility, so as the Rune of Death was used to turn off Godwyn's, allowing himself to then be killed where previously it was thought impossible.

Then, after the Shattering, and post-"renouncing" as the Two Fingers tell us, the invincibility of Marika's family line is manually shut off. Allowing all the named demigods to be killed by us on-screen, and all the unnamed demigods in the Belled Mausoleums and whatnot, to be killed off-screen.

Death is the inevitable destination for all things considered living. What Grace only ever did was stall for time. What the Rune of Death effectively does, in regards to that, was forcing Grace to shut down.

Outside of, specifically, magic derived from the Golden Order of the Elden Ring, the Rune of Death isn't particularly special. Hence in actual gameplay why the powers of the Rune of Death don't instantly kill every enemy or something like that.

That's why everything is still able to die, with or without the Rune of Death being directly used.

[tlgtw]

Hey! I'd really be happy to get to know your opinion on the burial of Godwyn. Do you think that he was buried in the deeproot depths, or in the heroes grave near Leyndell? It would make hell of a lot more sense if the higher ups in Leyndell buried him in the heros grave, but why would someone snatch his corpse, and why? I was suspecting Fia, but ... anyway, keep up the good work, and thank you for your effort!🙏🏻😊

Thanks for your question, this is actually answered in Episode 1 for ERwSET, but to keep it short, yeah;

Godwyn was buried in Auriza Hero's Grave, then his body was taken and stashed into Eternal City 1. Where from there, it began the spreading of Deathroot.

The reward for killing Ordovis is just his equipment, reflecting how the bottom chamber of the Hero's Grave is empty.

And from the details I go over at the very end of ERwSET 2, the reason his body was kidnapped and put into Eternal City 1 was in order for the Nox to make the Fingerslayer Blade for Ranni.

Thus, a weapon able to purely damage the soul -> a weapon with the capacity to harm the Greater Will.

As we see for ourselves by the Halfwheel Wound of the Centipede marking Ranni's dead Two Fingers. The plan ultimately worked.

Even if it had some unforeseen delays, haha.

[tlgtw]

Hi, I'm sorry to hear about your hard drive, I just logged into this old tumblr account to ask you a few questions. How much in total do you need for a new hard drive? how would you distinguish between using "Simple present tense" and "Present Tense" to figure out what Malenia's Remembrance means? sorry, I'm not too good with grammar and stuff like that to confidently make a call on what to do. I really enjoy your content and hope for a quick recovery from the HDD issue.

Thank you for your questions:

I've had to spend 100$ for the sake of replacing my hard drive, unfortunately.

For Malenia's Remembrance, present tenses and indefinite present tenses are distinguished by spelling and word-choice. In this case, the word "are" is used to describe the Twins having the Empyrean status, making it simple present tense. (unless I am mistaken)

For me, though, it's only that the sentence describing those things is in present tense in the first place that's noteworthy. Because the second part of the item's description describing the disabilities they have uses past tense instead.

Why is present tense being used to describe being Empyrean, but past tense use to describe their afflictions, when both conditions are those that Malenia and Miquella had received prior to the events of the game? Why didn't they use the same tense for both?

That's the main thing that'll be covered in the upcoming video.

[tlgtw]

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[tlgtw]

That Deadspace/Doom/Halo/Metroid comic is truly outstanding.

Thank you! I hadn't thought it would resonate with so many people when I drew it, but I'm very proud that it has!

[tlgtw]

Hey, I just saw your art with Issac Clarke, Master Chief, Samus, and Doomguy, and it was the best thing I saw all day, thank you

I'm very glad to hear that, haha. I had ended up wasting an entire afternoon just envisioning those three panels over and over before realizing I had to actually make it. I'm happy it came across.

[tlgtw]

just wanted to say I'm so glad my tags inspired something as nice as the art you drew on the master chief, doom guy, samus and isaac clark post <3

Thank you so much! It really was an evocative scene you made.

[tlgtw]

Do you provide your script for patrons

The script to Episode 1 can be pried from my cold dead hands. But the scripts for Episode 2 and onwards will be released to the OF. So those will be available.

[tlgtw]

First of, great first video you made, great content. Second: I've watch a lore video where the author claims that the Greater Will ain't a outer god. Thouhgts on that? (Video is called "Elden Ring Lore | The Greater Will is NOT an Outer God" by SmoughTown)

Thank you! As for your question, unfortunately, I haven't seen that video, so I have no idea.

[tlgtw]

Actually, I changed my mind on this. You can pry it from my alive hands. The script as I used it for Episode 1 is now available as an exclusive for members of the Official Fanclub. It also includes my genuine production notes.

https://ko-fi.com/post/Special-Release--ERwSET-Episode-1-Script-w-Pro-G2G6JRH4A

Do you provide your script for patrons

The script to Episode 1 can be pried from my cold dead hands. But the scripts for Episode 2 and onwards will be released to the OF. So those will be available.