#WHY MUST HE BE DOOMED BY THE NARRATIVE | Explore Tumblr Posts and Blogs

amorphousbl0b · 4 months

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Arcane does a fun thing with its narrative Darkest Hour.

Or: yet another post about how insanely smart this show is and how absolutely genius its writers are (and how jealous of them I am).

For the uninitiated, the Darkest Hour is the moment just before the climax in which the heroes are at their lowest point. When the Avengers are scattered and Loki opens the portal in NYC, when the Falcon has escaped the Death Star but lost Obi-Wan, when the Fire Nation is set to annihilate the Earth Kingdom, when Frodo fails to destroy the Ring at the Crack of Doom. The heroes must confront their flaws and change for the better for a happy ending.

Arcane’s darkest hour is, of course, in Act 3. One might place it at the very end of episode 9, and that’s certainly where the story is at its most hopeless. But I’d contend it starts as early as the end of episode 8 and carries on through the entirety of episode 9.

After all, that’s when Caitlyn and Vi have separated, lost all hope, and Cait is kidnapped by Jinx. Jinx’s mind is fully gone and throughout the episode everything falls apart around her. Silco is losing control of his chembarons and may well have lost his daughter, the thing most precious to him, and is only barely keeping his powerful façade in line. Zaun has realized how ridiculously outmatched they are in a war with Piltover and the revolutionary cause has become almost impossible. Viktor has manslaughtered his assistant and may never be cured. Jayce has manslaughtered a child and finally realizes how quickly he’s losing his morals. Mel and her mother are fully separating and she is struggling with her warlike destiny. Sevika gets the absolute snot beat out of her and limps to an empty office without a boss.

So yeah. Lot of personal Darkest Hours going on.

“But what’s the interesting thing?” I hear you ask in my ear. I don’t know why I hear you. Shut up. I’m writing. Are you even real?

Excuse me.

Arcane’s interesting twist on the Darkest Hour lies in part of the trope that I didn’t mention. That’s in the villain.

Most stories with a clear-cut villain have a plot structure something like this:

Whether things are going well for one side is inversely proportional to the other. During the Darkest Hour, when the hero is at their weakest, the villain is at their most dominant.

Wait… isn’t Silco the villain of Arcane? Not to be too blunt, but he’s having a shit time. Things are falling apart for him just as badly as for everyone else.

That's the trick. Caitlyn and Vi are suffering. Jinx is suffering. Silco is suffering. Jayce is suffering. Viktor is suffering. Zaun as a whole is suffering. There is only one party in the whole story that isn't suffering, that actually is benefitting from this horrid state of affairs...

EKKO AND HEIMERDINGER

Kidding. They're not really a part of this dance. A big part of Arcane's theming is that acting to help people without an agenda is simply more virtuous than fighting for any invariably-flawed nation that innately perpetuates the cycle of violence.

No, the side that is doing fine is the other that is conspicuously absent from my two prior lists. While the characters that make up its leadership are experiencing personal Darkest Hours, the organization itself is essentially on top of the world, having just scored a huge victory and getting set to bring the war to an end before it even begins. I mentioned how poor the situation for the Undercity looks, but not its counterpart.

Piltover.

Wasn't it so that Piltover started this whole mess? Didn't their oppression cause the revolt that orphaned Vi and Powder's parents? Isn't it their actions that drive Silco to ever greater extremes? Isn't it their normalized political backstabbing that causes Jayce to sacrifice his principles because that's the only way to get ahead? Isn't it their corrupt police force that lets Silco operate his drug empire with impunity?

Silco might look the part. He might be the most personally evil character, might be the one who causes the most misery for our main protagonists Vi and Powder.

But structurally, the shining city of Piltover, its political machine, and its Enforcers are the actual villains of Arcane.

#arcane #darkest hour #writing #silco #piltover #zaun #piltover and zaun #heroes and villains #good writing #just realized this #still noticing new things #even two full years later #i love this show #has someone said this before?#long post

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lovingdabeessss · 6 months

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*clears throat* WHITE ROSE HASNT HAPPENED BECAUSE THEY ARE SIMPLY NOT DOOMED ENOUGH

The most consistent thing about RWBY is that in order to be in a romantic relationship the relationship MUST be doomed explicitly

Jaune and Pyrrha only kiss after she knows she’s ABOUT TO DIE

Ren and Nora only get to kiss during an argument where ren slightly expresses his paranoia and reasons he refuses to be with her, then he immediately gets proven right and then Nora gets almost electrocuted to death

The only reason clover and qrow get to flirt for essentially EVERY scene they have together is that they’re EXPLICITLY doomed (it’s about how their individual relationships with luck have led them to be intensely loyal to authority. Qrow in a sense of gratitude, clover in a sense of privilege. they’re both the best huntsman of where they were and most trusted warriors of their leaders. however qrows life has had his team fall apart and has gotten the appropriate amount of disillusionment from ozpins lies. This is what saves him. But clover has been left to be doomed to death because he cannot believe a system he was built for could be anything but inherently correct. Qrows misfortune had saved him clovers luck killed him. And despite how hard anyone could’ve tried their was never anything that could have saved him from being gods most perfect soldier. Or idk something like that I don’t think about them enough)

Tai summer and raven. Raven was always going to leave to go back to her tribe. Summer was always going to be murdered by Salem. Tai was always going to be left. They all knew they all probably tried to deny it. They all walked backwards into their own narrative. Their ship name is apparently str crossed lovers. Which is genius.

Ruby and penny got their whole thing because penny died TWICE and now she’s permanently haunting ruby’s lil narrative so good for her

and that’s why chronic runaway and abandonment issues personified are CANNON SOULMATES (I could go on several rants I adore them)

So yeah if you want them to be cannon they just have to be more doomed but it’s kinda hard for that cause they had a little reversed doomed situation where they’re relationship was always going to get better because they were kinda enemies at first

Anyway good luck to whiterose shippers I wish you all a very happy only team partners that haven’t kissed yet

#rwby #yang xiao long #blake belladonna #bumbleby #rwby bumbleby #ruby rose #yang x blake #weiss schnee #blake x yang #qrow branwen #str crossed lovers #qrow and clover #penny and Ruby #whiterose #arkos #renora #i need to stop #this was unnecessary #good luck to whiterose shippers

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wilbursoot-updates · 6 months

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Wilbur Soot Muddles Through Unhappy Love On New Song “Mine / Yours”

Wilbur is mentioned in Genius' new article!

It comes off his new album, ‘Mammalian Sighing Reflex.’

When English multi-talent Wilbur Soot isn’t being a social media personality or fronting his indie-rock band Lovejoy, he makes solo records, and today, he dropped an album that’s leaving its mark on the Genius Top Songs chart. It’s called Mammalian Sighing Reflex—a pretty great title—and the song that’s grabbing the most clicks out of the gate is called “Mine / Yours.”

Written by Soot himself, “Mine / Yours” is about a relationship that’s not going too well. Over mournful finger-picked acoustic guitar, Soot starts by warning the song’s subject that he’s about to get real.

Why must I feel numb, done what I’ve done I’ve taken my cues, what I’m supposed to do Now heave the issue, the narrative’s doomed When I hold the pen, it’s throttling you

In the second verse, Soot reassesses the past and hurls vitriol in the present. Things are getting really uncomfortable.

You never liked me when drunk I start to believe you never liked me at all And so I agree, and I’ll say “Fuck you” ’Cause I know if I don’t, I’ll probably say Something stupid and true

The third verse hints at just how ugly things might get.

I stand just out of reach of your fists And take myself away again, pretty slim

The fourth verse offers a devastating depiction of two lovers going through the motions. They’re like a couple of office drones. Nothing could be less sexy.

You kiss me like it was your job So tender and carefully, teeth before tongue (I wanna be yours) Not in the way that the romantics do But with the grace of a workplace HR dispute (I wanna be yours)

And yet on the outro, Soot’s narrator suggests this sad joke of a romance is preferable to being alone.

I take you for granted Because the alternative’s far more alarming

#wilbur soot #mammalian sighing reflex

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hezuart · 6 months

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Thoughts on the “Look my Way” music video? For context if you don’t know, this is a fan song that’s just animated. Paranoid DJ had written this song awhile back, though Viv did take out some lyrics and switch them up a bit. What I personally don’t like is that there’s a line in the original where Stolas mentions the “impish play thing” line, as well as acknowledges that Octavia is hurting, and Viv cut that out. The song itself also doesn’t help for the show narratively really regarding the ship of Stolitz.

OMYGOD Okay so much to talk about here. It's a BEAUTIFUL song, amazing song, and I even loved the original of it. The animation for this AMV is breathtaking, everyone did an AMAZING job on it. This is what Helluva Boss songs should sound like. I was annoyed with that one scene, albeit very pretty where Stolas and Blitz have a string attached to the pinky finger, which is an indication of soulmates. This bothers me because a soulmate is either A. someone you have been reincarnated with over the years to love or B. Someone you click with- someone who completes you. You meet in every lifetime or they are the perfect person for you. This does not fit Stolas X Blitz AT ALL. They are not perfect for each other, they are complete opposites and the entire appeal and beauty of their relationship was the fact that they were fuckbuddies! They weren't even friends! They were tied up in manipulations, classism, and power imbalances. Their relationship required a lot of growth, a lot of work, and a LOT of learning on what love actually was, how to maintain it, and how to right their wrongs like-They needed to actively explore and learn what love means. They needed to find a real connection that would actually give them chemistry. Being soulmates is a complete cop-out. (Soulmates don't rely on reincarnation, but some do- and reincarnation is not a thing for demons???) You could say I'm overthinking it and being nitpicky with this visual, but this is exactly what it is! That is a soulmate string!!! He even says "I'll grant you this mercy, this bind on our souls-" LIKE BRUH wHAT !!! I'm so mad about what their relationship has become. They were toxic but not doomed. Now they're nothing Anyway..... still very beautiful and pretty

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I have friends who actually know this guy and work closely with him. Apparently, Viv was the one who asked to change the lyrics of the song because it didn't "fit her story"???????? The lyrics changed: OG: "Come now, my little impish plaything, we both made our choice" Viv: "But dearest, I know better now I must give you this choice" It makes sense why she would want this changed since this song is about Stolas actually finally being in love. But it's still very sus because we still have not addressed Stolas's classism problem that seems to fluctuate episode to episode. OG: "Is this how she'd feel? Abandoned, all alone and left to fend For herself, for some semblance of happiness that doesn't have to end?" Viv: "Is this what you feel? Scorned by a realm that cannot comprehend, What you are, so I'll grant you this mercy this bind- on our souls needs to end" Again I can understand this change because we are going off-topic with Octavia here. However, I do find these changes very suspicious, especially if she wanted the song to better "fit her story". Because these circumstances are things that I have accused Viv of retconning before. Where Stolas wasn't actually in love with Blitz from the start and only saw him as a shiny toy, an "impish little plaything". Where Stolas was actually shady in cheating on his wife and not being there for his daughter nor really understanding her. "Home doesn't feel like home anymore. You ruined it." I can understand in the context of the song why these lines would be removed, but in the context of the overall story, I'm very suspicious of it, because those are very important contexts that people try to insist are "just people's headcanons" when they literally aren't. This could be considered active proof of Vivziepop retconning her story, but I will go with the latter and stick to my logical explanations for why the lyrics were changed- gonna try to have some faith here.

~~~~

Apparently, Cherri and Angel's AMV Addict was also a fan song. In THAT video, this is the description. Fully acknowledging it was a fan song, and giving clear credit to the person who made the song.

THIS. IS THE DESCRIPTION FOR "JUST LOOK MY WAY"

NO acknowledging this is a fan-made song. NO credit for Paranoid DJ. No thank you, no praise for the original, no links to the original song- He is at least in the credits, but not the description! This is insanely shady! I don't know if this was just a mistake or not, but this is really uncool. Again, he's at least in the ending credits, but... the description would make it more obvious. Vivziepop has a history of not crediting people for their work- I don't know if she was the one who made this mistake nor not.... this is not the worst it could have been, but at the very least whoever runs the youtube should fix the description out of respect.

#vivziepop critical #helluva boss critical #ask #long post #text post #just look my way

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theaceace · 6 months

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I'm still thinking about this and people seem to like it so here's some more thoughts, also this is getting its own post now as a follow up to this

Dream is the prince of stories and so he knows already how this story is going to end. How it always ends.

He was there, after all, the first time it was lived, the first time it was told, and heard, and sung, and wept over, and dreamt of. And not only that, but he knows every variation - and there have been so many of them over the years. So many twists and turns that have been dreamt of - so many of them by over a thousand people, until all of them were as true as each other from the beginning to the end. The stories are contradictory, but that doesn't matter. They can all be true nonetheless, and not even Dream knows now which was the original.

(He could know. It would be so easy to know. It must be there within the library - within him - gathering dust. He didn't look, even when he could. He chose not to)

There are worlds in which Orpheus looks back in doubt, in which he is afraid that he has been tricked and his love is still deep in Hades. There are versions that have him unable to bear Eurydice's cries, her wails of anguish, and he turns to comfort her even knowing that it will be their doom. There are tales that have him reach the living world, and in his exultation turn to help Eurydice a moment too soon. There are poems in which he looks back believing he is saving them, and songs in which he knows he is dooming them.

Dream wonders, as he follows silently behind Hob, which version this shall be. Just when his old, old friend will succumb to the tale, as he inevitably must. Will they make it as far as the door - will Dream be afforded a glimpse of sunlight, after a century of the dark? Will he see beyond Hob, for that single moment as he turns in the doorway, see out to the Waking, or to his own realm?

Or will Hob surrender before then? He has made it much further than so many of the others, his back straight and his steps sure. He had marched so confidently from the basement that Dream might have been able to overlook the way his hands trembled. The Dreaming will not make it easy - and Dream has not the power to control it while he is still bound within the narrative. The path through the house is clear, but it is long and circuitous - far more so than its Waking counterpart. Hob does not falter at each twist and turn, but Dream knows there will be other tricks and traps.

(Hob hears voices calling from the other room. He hears Eleanor, hears Robyn, hears the voices of all those he has loved and lost in his long life. They cry out to him, beg him to bring them back too, ask him why he didn't ask the Dream Lord for them to be returned to life. You could have asked for anything - why didn't you ask for me?

Because you're gone. Because I loved you and lost you and mourned you and still I chose to live without you! He doesn't call back. Because my friend is the only person I have never had to lose or leave behind! The voices stop eventually, and the house is silent once more but for a single set of footsteps)

(Once, he hears Dream's voice, begging him to turn and look, please, won't Hob look at him? And Hob only scoffs, because even bound naked and caged for over a century, his friend had not begged for Hob's help. He can't imagine his arrogant old stranger ever begging for anything at all. And so, the house falls silent)

Dream had never thought overmuch about the path Eurydice walked as she followed his son from the depths of Hades. Had she wanted to leave that place, as Dream does? Had she felt some piece of herself returning with each dogged step, or had she followed because the gods willed it, and so she obeyed? She had dreamt often of Orpheus, of their life together - she must have loved him then, while she still lived. Had she loved him then, when he came to fetch her, though she was but a cold shade of herself? (She must have, she must have, she must have, Dream thinks, staring at Hob's back. How could she not, when he was the first warmth she had known in that place?)

Had she known? As they climbed, and she stared at her lover (Dream's son) had she known then that it was futile? Had it mattered to her, or had she been content knowing that Orpheus loved her enough to defy the underworld? Had she watched his back as they walked, and known that the next time she saw his face would be the last? She must have forgiven him, of that Dream is sure. She must have understood.

(Dream has already forgiven Hob for his failure. He knows not when it will come, only that it must, and he isn't angry. This story is as much a part of him as any other - how could he resent Hob for playing his part in it so beautifully?)

Dream has never regretted, before, his reticence when Eurydice still lived. He thinks of his son and the mortal girl he had loved, staring at his dear friend's back, and is unsurprised to find himself crying.

Once, as they draw close to the end, he sees Alexander Burgess watching them from behind a half-closed door. He doesn't know if Hob sees him, doesn't know if his steps are unfaltering through sheer force of will. Alexander watches, his facade flickering between that of an old man, the timid thing that had shot Jessamy at the heart of Dream's prison, and the quaking child that had first followed his father through to the basement of the Dreaming house. Dream cannot harm him, of course. As a young man he had asked for safety, and so safety he would have until he left this place, after spending years glancing back like a hunted animal. Even if there should come a time that Dream is freed, he will not break that vow, and Alex will remain as trapped by his cowardice as he ever was.

But - oh. There it is. The door - he had been distracted, and by the time he looks forward again, they have reached it. Hob reaches for the handle, and still he hasn't looked back. He pulls the door open, and still he hasn't looked back. He steps out, into weak morning sunlight, and still he hasn't looked back. He stands, unmoving apart from the way his clenched fists shake, and still he hasn't looked back.

Dream stands, frozen, in the shadows of the doorway, staring out over the threshold. At the light, at the freedom, so very close. A few steps, nothing more. He doesn't understand - this is never how the story goes. All the dreamers that tried to bend it to their will (the idiots that had given it a happy ending) and inevitably it had returned to its true form, over and over. This isn't... He doesn't...

His throat works, his jaw moves, his voice is thick.

"Hob?" He doesn't understand, he doesn't -

And Hob -

End title

#Dreamling #dream of the endless #hob gadling #Sandman #not exactly a writing tag #Ficlet #Apologies to folks that saw this as a reblog earlier I've decided it deserves its own post

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y-rhywbeth2 · 2 months

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Something I love about BG1+2 is how it simultaneously plays and subverts the demigod/chosen one narrative (which continues in BG3, except with only the subversion. (And Halsin is not joking when Durge tells him what they are: Do NOT advertise that you're a Bhaalspawn.))

I've always been fond of the set up in Saradush in ToB, where the surviving children of Bhaal are being corralled into the besieged city under promise of protection against the entire world - because basically literally the entire world is trying to kill the Bhaalspawn: Your more powerful siblings want you dead; your mortal neighbours, and likely your nation itself either thinks you're inherently evil and are ready to kill you, or you represent such a threat that they're ready to drive you out and/or kill you just in case. Case in point: the aforementioned siege outside the city walls with the army that wants you dead currently raining giant flaming rocks of death over your head.

Some of these guys have no idea what they are, or what's happening, until attempted murder happens.

Like this discussion with one of your random brothers, a guy called Alexander:

Alexander: "You don't look like one of the locals. Are you a child of Bhaal as well, lured here like the rest of us to face our inevitable end?" Charname: "As well? What do you mean?" Alexander: "I myself am one of Bhaal's progeny - or so I've been told. I guess Bhaal's blood runs thicker in some of his children than in others." Sarevok: "By your snivelling manners, I would say Bhaal's blood runs very thin indeed in your veins. Bah-why do I even waste my breath tormenting this cowering cur?" Alexander: "Uh... is there anything else I can help you with?" Charname: "How did you get here exactly?" Alexander: "I wasn't brought here by Melissan, like some of the others. My home village was burned to the ground by a dragon who claimed to be hunting me. My friends... my family... they threatened to give me to the dragon if I didn't leave. So I did. And I heard a lot of other Bhaalspawn were coming here. *sigh* Now I almost wish I hadn't come."

Spoiler alert: He dies. Every single Bhaalspawn in that city dies*, along with everybody except a handful of commoners (*except maybe Viekang, who was not particularly inclined to murder me, so Murder in Baldur's Gate is weird.)

You, a simple peasant from a farming village one day come of age and learn that your absent father was a god, and you are forced to flee forces that are trying to kill you (in this case, your much more powerful half-brother)... it sounds like the start to some kind of fantasy epic, but instead of any fancy destiny you end up in a war torn city surrounded by castoff divine bastards just like you, terrified and unwanted, and then you die, and are forgotten.

And that's what being a Bhaalspawn is!

Whatever grand lies Bhaal tells you in your dreams about how you're special and great power awaits you (if you behave and do his will), your job is: sow death, faith, fear and chaos wherever you roam, strengthen Bhaal's power, and then be a good child and die for Father. No exceptions, save perhaps one, who is explicitly a special prophecy child, and even then is supposed to be doomed by future FR canon because they're still Bhaal's "pawn". There's also Imoen, who might be spared simply by proximity to said prophecy child keeping her alive. Non-game "canon" screwed her over hard. (FR canon and I have a complicated relationship, it must be said. All copies of those books are to be ritualistically burned.)

idk where I'm going with this, I just love how bleak the situation in the city is. No grand destinies, only a discardable pawn to be used, abused and consumed.

...And also that part where Tethyr sends an army to kill you because obviously you are guilty of "crimes against [Tethyr] and, indeed, all of humanity!" by supposedly killing a whole city: They admit they can't prove it, but you're a child of murder, you were born guilty even if you didn't actively do anything.

No, really:

General Jamis Tombelthen: "You are guilty, [Charname]. Of this there is no doubt. And we will not risk your further endangerment of us all. You are a spawn of Bhaal and responsible for the destruction of the city of Saradush*. Your execution has been ordered, [Charname]. May the gods have mercy on your soul."

* I implore you to move with great urgency to intercept the Bhaalspawn before they can do any more damage. Whether or not they are responsible for what occurred in Saradush, we cannot allow them to continue and cannot afford the time for trial... - Tombelthen's orders, courtesy of the Queen of Tethyr

#No I am not done obsessing over the Children of Bhaal: I just love these poor fucks ok #(I have an hour or two's spare time will I use it on anything important? No I'll babble about a decades old game and then get back to work)#This has been Original Baldurs Gate Propaganda Hours #Also don't hire any sex workers in Saradush: they only want to eat your blood #bg2 spoilers #babbling #long post #/durge #/charname

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caligvlasaqvarivm · 3 months

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You might’ve already got this before, and I’m asking this in genuinely good faith.

Your essay was very interesting, and convinced me of Erikar as a ship reading. I also really enjoyed your dissection of Eridan as a very honest person drawn into destructive behavior. It very much lines up with his status as a Prince of Hope! One who destroys conviction/belief through conviction/belief.

What confused me was your insistence on the hidden hand of the author. Death of the Author and all that, what’s implied in the text can be taken on its own separate from commentary but you seem to be doing an autopsy— the text implies [this] so *Hussie* must have intended for [this] and then tried to cover it up. If they genuinely thought it was a better ending, why not do it? Why the secrecy, why the feints? I think it’s a little conspiracy-brained to insist on a secret “better ending” that we don’t have author’s word or drafts on.

I’m also a little drifted on your frustration with the deaths of the trolls? You write that the theme of Homestuck— a standard coming-of-age story, a reckoning with society and the exit from youth— is undercut by the deaths of the trolls, because that means they *had* to die, in *punishment*. I disagree. Their deaths are tragic, not just.

Homestuck has a lot of methods of revival, the choice to (for the most part) perma-kill some characters (the trolls for one, and then AR, WQ, and WK) is a deliberate choice to make death mean something. If dying doesn’t mean anything, what are the narrative stakes? Murderstuck marks Gamzee as a threat, Eridan as a tragedy. The deaths there are meant. To be sad. To demonstrate that sometimes kids don’t get to grow up, that sometimes the society they live in cuts them down.

Homestuck is a sad story at times! It doesn’t need an ending where everyone gets to live to keep its coming-of-age conclusion.

I hope this made sense. I’m not trying to attack you, I’m just skeptical of some of your points. I hope you go on to do more analysis in the future!

If you want to believe that, go ahead 👍 again, arguing my points on that front would require its own entire essay, lol, so I'm not really planning to do that as the answer to an ask. The only thing I really want to say here is that while Homestuck is often sad, as you say, its underlying tone is unwaveringly hopeful right up until Game Over/the Retcon, and even kind of beyond that. If you prefer a sad story, then you can have a sad story, but it's just not a reading consistent (to me) with the entire rest of what Homestuck is.

For example, the whole narrative grapples with the debate of predestination vs. free will. Do things happen in Homestuck because they have to, or because characters are making choices? But with the introduction of John's retcon powers, it lands firmly in the "free will" side of the debate: the retcon powers outright defy the power of stable time loops - a reflection of how Breath is associated with freedom and choice. This is the optimistic option.

Another thing the narrative grapples with is the realness vs. fakeness of magic. I don't think it's hard to argue that between LE's "evil wizard" status and Godtier!Calliope's wand-induced black hole that the arrow falls firmly in the realm of magic being undeniably real. This is the optimistic option (and yet another narrative element that Eridan is extremely relevant to).

Moreover, even post-Retcon, there are elements that are kept that soften the tragedy already present in the story - for example, the concept of the Ultimate Self, and the implication that all surviving characters will eventually achieve it, takes the edge off all their doomed and dead counterparts, who won't actually be relegated to double death in the dream bubbles, since in a way, they'll live on through their alpha counterparts. It turns those sacrifices from bitter to bittersweet, and serves as a counterpoint to common takes like John being sad that he doesn't know the version of his friends that exist post-Retcon. The inclusion of it in the post-Retcon story, even with its botched delivery, says to me that Homestuck is still intended to be optimistic at its core, even with the extreme Giving Up that Hussie did.

And let's not forget how Calliope gets to come back to life, no strings attached, and that her stated purpose is only to live. Up to the end, the tone is that of HOPE, and I think there's no mistake that HOPE is supposed to be what defeats LE.

As I said in replies on that post, as an artist, I just can't imagine spending literal years, and literally a million words and thousands of images, writing something that's so thematically and tonally consistent, only to hard swerve right at the end, without extenuating circumstances.

And the thing is, there WERE extenuating circumstances, and they're fairly well-documented.

The kickstarter got funded, and while the story is muddled, we know the production of the game was extremely troubled, and Hussie was having difficulty being a project lead for that while also grappling with everything else. Everything else being, of course, an ever-increasing number of irons in the fire - more third-party artists he had to commission and manage, more merchandise he had to be on top of, bigger updates to sate the demands of the fanbase.

Which, speaking of, was infamously one of the most awful and toxic fanbases to ever exist, and one that Hussie has deliberately attempted to distance himself from since. I can't imagine the kind of daily abuse, harassment, callouts, and worse that Hussie had to endure as Homestuck's creator during the fandom's peak years. I don't blame him at all for turning against them.

Therefore, given the way the tone and themes hard swerve, the way several characters get bent entirely out of shape (you're telling me Karkat had several means before him of bringing his dead friends back and WOULDN'T SAY ANYTHING???), the way several plot threads are simply left dangling in the air, and the way some characters reach really weird and unpleasant conclusions (davepeta, gcatavrosprite), I think it's actually LESS reasonable to assume that the ending we got was the original plan. Hussie saw that to do the ending he wanted to do back in act 4, he'd need to write for a year, maybe two years more, and then looked at his mounting stress and pressure, and looked at the fanbase he'd come to hate, and just went "nope." And I can't even really blame him for it, lol. In his position I'd probably do the same.

Also, please don't mistake "the deaths are undone" for "the deaths will not have mattered" - I think there's a reason that the game over timeline characters still exist post-Retcon. Their arcs don't end with their deaths, and their failures are weights on them that must be narratively resolved - I believe that they go on to be the ones to defeat LE, although I have much less evidence to support this. It just makes narrative sense to me - the post-retcon team focuses down the Felt, various Jack Noirs, and the Condesce - the latter of which is their final boss, as the ultimate representation of the shitty society they're doing away with on their path to creating a new one.

Meanwhile, the dead and "irrelevant" versions of the characters, the ones who grappled with and were harmed the most by what LE represents - immaturity, selfishness, and cruelty - go on to band together after death, and defeat him in the bubbles, a culmination of their vengeance for the havoc he wreaked. And with him being destroyed in the bubbles by the dead and irrelevant, symbolically, he will be rendered nothing more than a bad dream for the waking, relevant, and alive.

Thus Gamzee is still an antagonist, although it becomes (Gamzee) and (Equius) who go on to form LE. Those deaths and those failures still matter, they still happen, they still have narrative weight. Even without the Game Over versions of the characters still existing and still being important, the decision to welcome antagonists like Gamzee and Eridan back into the fold is rendered more complex and more significant BECAUSE we've seen how badly they can go.

The speech originally given by post-Retcon Vriska to (Vriska) is also, to me, a weird artifact of this hypothetical original ending - as it exists within the actual comic, it's said by the wrong person to the wrong person - Vriska with her character development reset to a (Vriska) who's had her characterization destroyed in order to make the first Vriska seem more right. I think originally, it would've come from (Karkat) to Meenah, the latter of which being the one whose idea it was to fuck off with the treasure, and who caused the Beforus team's worst problems, and who has a track record of fucking off whenever she's tasked with taking responsibility. Thus, it would serve as a conclusion to Meenah and Karkat's arc, as well as Game Over Sadkat's arc specifically, would convince Vriska to go with him, and would give Meenah some narrative commeuppance, which would kickstart some sort of Beforan troll feelings jam that would rally them together to actually be useful for once in their lives/afterlives and contribute to the LE fight.

Again, if you PREFER the sad ending, I can't stop you, but the reason I'm going in on there being an "original ending" that isn't sad is because the sad ending doesn't make narrative sense. Why is the ultimate self speech coming from a combination of two characters that barely spoke? Why is it triumphant that Meenah and character-development-reset Vriska get to be the big goods in the fight with LE? Why do multiple prophecies suddenly get dropped right at the end when all other prophecies DO come true? Why does Karkat spend so long being sad his friends are dead, and also why is he deliberately set up as the Friends Troll (blood = bonds), and then suddenly not care that multiple methods exist for bringing back his friends? Why bother softening the blow of all the dead/irrelevant alternate selves if they're intended to be fully tragic? Why introduce a mechanic that would let them save whoever they want consequence-free and then not use it to do that? Why does Roxy love wizards so much and then not get to meet the wizard boy? Why is the entire rest of Homestuck so carefully crafted, so narratively satisfying, so thematically and tonally consistent, and then all of it goes to shit right at the end?

So yeah lol this is the SHORT version lol this isnt even the LONG version of this essay

#anon i think u just like tragedies which is ok 👍

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a-bit-too-much-of-a-zelda-fan · 5 months

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Why Tears of the Kingdom's Story Doesn't Work

While I will defend the lack of nuance in the text of Tears of the Kingdom, what I will criticize is how the story was executed. TL;DR: The writers tried to tell a story like Skyward Sword, but were limited by Breath of the Wild's nonlinear gameplay formula. Read on below the cut. Spoilers, obviously.

Let's start with Skyward Sword's story and how it was executed so well. There are three arcs: Find Zelda, find the sacred flames to purify the Goddess Sword, and seek out the dragons to find the Triforce. The first arc is notable here, because it's a suspenseful mystery. Link is constantly a step behind Zelda. He's chasing after her with no goal other than to just reunite with her.

The story is able to move from arc to arc and tell a story that evolves over the course of the game because of how rigidly structured the progression is. You will go from point A to point B, whether you want to or not. That way, the writers could drop the right story beats at the right time. It's traditional storytelling, because no other medium has the same level of interactivity as a video game, and it works. Regardless of how it feels to play, you can't deny that the story was executed very, very well.

Breath of the Wild, by contrast, is nonlinear to a fault. You can go anywhere, anytime. The writers were cognizant of this, so they wrote a one-arc story that was compartmentalized into four entirely separate plot lines. Link has one goal that never changes across the game: free the divine beasts to defeat Calamity Ganon. You go to one region, free that divine beast, then go to another at your pace and discretion.

Nothing carries over between plot lines. Nothing you did for the Rito has any impact on what is happening to the Gorons, because every plot line had be to designed so it could the first or last one you tackle. This approach deprived the story of depth or any sense of momentum. They aimed to make up for this with the memories: cutscenes that tell a linear story with more depth, but can be discovered in any order then rewatched in the proper order for the "complete" picture. Critically, though, the memories only provide context to the current events. Knowing what happened in the past has no bearing on the present.

Now we come to Tears of the Kingdom. They went the same gameplay approach as BotW: complete non-linearity. But they tried to tell a mystery story. This fundamentally fails because, like BotW, nothing carries over between the regional plot lines, and they should be impacted by the dragon tears (TotK's memories) but aren't. There are so many ways this falls apart. I'll talk about it through the order I played the game in: Zora, Rito, Gerudo, Goron.

Once Link returns to the Surface, witnesses Zelda appear and disappear at Hyrule Castle, and tells Purah what happened, she instructs him to investigate the odd regional phenomena. So he goes to Zora's Domain and starts working with Sidon. Zelda appears to them, and at this point, Link--and the player--has no idea what's going on. After that, Link goes to Rito Village, finds Tulin near the huge blizzard, and they see Zelda. Alright, something isn't adding up. By the time Link gets to the Gerudo Desert and sees Zelda there, he must know something is wrong. That is not Zelda, and it's pretty obvious at this point. But he still acts as if he knows nothing.

Finally, when he and Yunobo are chasing after her on Death Mountain, there is no fucking way he doesn't know it's not her. Yunobo is all like "oh no, we have to find Zelda! We have to go after her! Is she okay after going into the ceiling like that?" At this point I am screaming in my head, "Link! Tell Yunobo it's not her! You know it's not her!" Because Link is clever. He can put two and two together, so why the hell isn't he? Well, it's because he's doomed by the format of the narrative.

This is made doubly nonfunctional once you find all the dragon tears. Once Links knows that Zelda is the Light dragon, there is no way on God's green earth that he is fooled by the Zelda that he sees with any sage afterward. But he acts like he is. Brother, Link talks so much in this game. He's constantly explaining shit to people. They really got their mileage out of his "moving hands as if explaining something" animation. But when it matters most, he is fucking silent. It's disrespectful to the player's intelligence and Link's character.

Look. When you're trying to tell a mystery, as your audience's knowledge of the situation increases, your main character's knowledge needs to as well. If the character witnesses a major clue, they can't just forget that clue so they can discover it again but in a different place. It just doesn't work like that. There need to be bread crumbs. There needs to be momentum. There needs to consequence, cause and effect. Mysteries are linear stories. But when you try to tell this kind of story in the nonlinear way that this gameplay formula demanded, it does not work.

What kills me is that each of the four plot lines in TotK are well-written and fun (quick ranking: Rito, Gerudo, Zora, Goron). But through no fault of their own, they decline in coherence and satisfaction as you progress through the game. I can imagine that someone who played the order opposite I did was as mystified as Yunobo, but screaming at Link to just tell Sidon that's not Zelda.

The nail in the coffin of this story's nonfunctionality is that the longest side quest has Link going around Hyrule's stables, trying to find clues to Zelda's whereabouts. He works with Penn to investigate and set these stories straight. But once Link discovers that Zelda is the Light Dragon (or at least, that the Zelda who keeps appearing isn't really her), he should be able to tell Penn the truth. But he doesn't, because he can't for the side quest to function.

I managed to put aside how frustrating all of that is by rationalizing "well it has to be this way for the gameplay to work the way it does", and that's fine, but they didn't have to write the story they did. BotW's story worked because they wrote it in a way that it can be thoroughly enjoyed in any order. TotK's doesn't because they tried to have their cake and eat it too: tell a story with depth, but tell it in any order. They could have written a story that worked with the gameplay, but they didn't.

TotK did a lot of things right. On their own, I think the regional plot lines are more compelling than BotW's (especially the Rito one, and maybe except the Goron one). Having the soon-to-be-sages follow Link through the dungeons was a good choice. The search for a fifth sage provided a feeling of momentum that BotW was sorely lacking. And from the moment the search for the fifth sage starts, the story works just fine because it becomes linear. I had a fantastic time playing this game. I wouldn't have played it for over a hundred hours if I wasn't enjoying myself. It's just a shame it didn't turn out better.

#zelda #the legend of zelda #my own #zelda analysis #tears of the kingdom #tears of the kingdom spoilers #totk #totk spoilers

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avelera · 1 year

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Some slightly more coherent thoughts about Spider-Man: Across the Spider-Verse (ATSV) now that I've had a little time to process and long to return to the theater to see it again and again and again:

1 ) Go see it. Holy shit, go see it. Re-watch Spider-Man: Into the Spider-Verse (ITSV) before you go if you have the chance but you don't have to, they recap it well enough and I promise anyway, the first thing you're gonna do when you get home after is turn ITSV on and then scream a bunch because it is all so tightly connected from the very beginning.

2 ) ITSV is a masterpiece. ATSV is more of a masterpiece in the same way that 11 is bigger than 10. They took everything in ITSV, which is a perfect 10/10 and made it 11/10 for this film. I shit you not. It cannot be otherwise expressed with words. Everything is just bigger, faster, bolder, more.

Ok, now getting into some of the more spoiler-y thoughts:

3 ) Loved me those themes of connection and loneliness. When you go back to ITSV, you see it's right there from the start. All of the version of Spider-Man are lonely. They are tired. They're isolated and unsupported and they are all suffering. Miles makes their lives better. They make Miles' life better. This becomes such a huge, huge theme in ATSV as Miles literally breaks the canon, he is the ultimate fix-it fanfic character, every Spider-Man he interacts with gets some element of their tragic backstory fixed. Peter B. reunites with MJ and has a child that brings joy back into his life. Gwen gets a friend again. Pavitr doesn't have to watch his girlfriend's father die. They are no longer doomed by the narrative.

4) Another post commented on how tired Peni looks when we finally see her, but she's not the only one. All of the Spider-People in the Spider-Verse look tired and it is, in fact I'd argue, Miguel's fault. He appealed to their sense of martyrdom to put together an organization that helps people and saves the world(s). BUT he made "maintaining the canon" an aspect of this (a wonderful meta commentary on Miles himself, btw, and all the comic book nerds who want to rehash the same story over and over instead of transforming it into something new and hopeful). Because they had all suffered so much, it followed logically for all the Spider-People that all of their parallel universe selves must also suffer.

This is the crab bucket mentality. Miguel dragged all the Spider-People into the crab bucket with him. He taught them learned helplessness. They're all tired and worn down because they have to keep reliving their own trauma by standing by and making sure these awful things that happened to them continue to happen, over and over. It's the mirror too for any marginalized community where the past generation believes the next one must suffer as they did. But it's exhausting for them to see the misery and do nothing. That's why they're all so tired. It makes sense to them that to be Spider-People, the next generation must suffer as they did but they are also, all of them, heroes and so it wears them down to watch this happen over and over. Miles brings back their energy and joy and their hope by refusing to be doomed by the narrative.

It's wonderful fanfic but it's also fantastic storytelling and it works on so many layers of the story, Doylist and Watsonian, all the way down.

5 ) THIS is a tightly knit story. Every. Single. Element. Ties back to the central story, the central themes. Every line either reveals plot, character, setting, or themes. It is so, so tight as a writer I was gaping. In necessary, if brief, moments of exposition they make sure to keep the screen busy and moving. There's no time for boredom. It is literally so fast that even as someone with ADHD I was sometimes overwhelmed as much as riveted. The few scenes that slowed down to simply fast movie pace felt achingly slow as a result and I bet you they were maybe 30 seconds long.

6 ) I AM. SO HYPED. FOR THE ENDING AND THE SEQUEL IT SETS UP? The perfect dark mirror story, not rushed but simply introduced so we can see that the final boss for Miles is himself. Unless they subvert that expectation, which they might! But it is so ominous to see Prowler Miles, it makes so much sense, it is perfect and deep and rich. Literally every time you think, "Maybe they'll rehash old material?" they don't they just keep introducing cool new characters and concepts and themes it's mindblowing.

7 ) They never leave you with one thread. Miles is going to face himself and fight to save his dad from the Spot and fight Miguel, presumably, in the next one. No single line only does one thing. No frame does one thing. And yet everything ties back to the core story of Miles and the Spider-People both on the Watsonian and Doylist level. I want to study every frame under a microscope. It's insane.

8 ) THE ART IT'S JUST. I'm not an artist so I'll leave it at this but THE ART.

9 ) I love Pavitr and Hobie. So much. I gasped when we saw Pavitr's world.

10 ) The Spot's animation was insane just insane and I think he's foreshadowed in the ITSV and it blew my mind on the re-watch.

I need to see it again. I could talk about any single element for hours. But I just can't stop thinking about the mastery embodied in this film. I know a sequel to a superhero movie that's animated will never win Best Picture but I do not exaggerate when I say that in itself might be an indictment of Best Picture. This film deserves Best Picture. It is the best movie I've seen in an unfathomably long time including ITSV.

#spider-man across the spider-verse #atsv spoilers #atsv #itsv #spider-man #spiderverse

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lurkingshan · 8 months

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I’ve been thinking about what makes the relationship between Jom and Yai in I Feel You Linger in the Air work so well despite the lead up to the romance being somewhat underwritten (which it plainly has been, especially on Jom’s side). I’ve discussed with some of my watch buddies that Tee Bundit gets bored of his own romance narratives and prefers to focus more of his attention on everything else happening around the romance (see: Step by Step), and he has plainly been doing the same in IFYL. So why is this romance working so well despite that?

First, I must give Tee credit for landing the big moments, even if he’s gliding over some of the building blocks to get there. Yai reciting that love poem, his series of increasingly obvious confessions and Jom finally opening up to receive them, their escalating physical desire, that olive oil scene, their dance both in reality and fantasy, their first sex scene, the intimate talk in the tub, Yai taking Jom to see the fireflies—this is all peak swoony romance. And crucially, he is grounding all of these moments quite intentionally in a sense of foreboding and impending doom, so even as we find joy in these two falling in love, we never forget what they have to lose and the danger that is lurking all around them. This works to tether the romance fantasy elements to something that feels more real, making the entire relationship feel both more vital and more fraught.

Second, I think the characterization for Jom is strong enough for us to fill in the gaps around his feelings for Yai. Jom met Yai after the worst day of his life and on the heels of realizing his lover had betrayed and strung him along for years. Yai’s earnestness and sincerity, his straightforward way of communicating, and his confident assurance that he wants to be with Jom no matter what must all be a balm to Jom’s hurt after what Ohm did to him. Jom has become more calm and centered as his relationship with Yai has progressed; he no longer seems anxious and scared at all times despite his continued awareness that he’s in a dangerous situation. You can read that as Jom simply allowing himself a pleasant distraction amidst his confusion and turmoil, but to me he just seems more centered and secure with Yai. His feelings for Yai seem genuine and his desire to be with him grows stronger each episode. I’ve noticed how much more Jom is smiling in these last couple episodes, and it doesn’t even feel conscious on his part. He just likes Yai and it’s coming through loud and clear.

Third, I must give it up for the actors. Nonkul and Bright are killing it in these roles, and they have created a very natural chemistry that can quickly ignite into intensity. Their depiction of physical desire is tangible; I can feel it in my own body when the tension between them ratchets up. They play beautifully off each other, and not just in the way they physically touch; everything from their body language to their facial expressions to their eye shine when they look at each other to their vocal intonations is just loaded with feeling and palpable chemistry. This is a story based in a fated connection and likely some form of reincarnation and inter-dimensional time travel, and so the pull between them needs to feel strong enough that you believe they would come together over and over again through time in all their various forms. We need to believe this relationship is something they will fight for and that Jom will mourn when he inevitably gets forced back to his own time, and they are absolutely selling it.

IFYL is delivering some of the best Big Romance we’ve seen in bl this year, despite having a story that is playing with a lot of big themes and is interested in a lot more than the romance. It’s a really remarkable show and another sign of how the genre is evolving.

#okay meta brain back on line #apparently i needed a reboot after that episode lol #i feel you linger in the air #thai bl #shan shouts into the void

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cosmiccowboystuddies · 1 month

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A Secret History, otherwise known as what the fuck Richard

(the last few bullet points will be talking about CSA so if that triggers you or makes you uncomfortable, don't read this)

Hi pookies, sorry for being awol, I've been prepping for finals, as well as annotating a secret history, and I had some thoughts I felt like sharing.

first of all fuck Henry

Bunny being the one to say " to live forever" is the definition of being doomed by the narritive

there is no version of the story where bunny lives, and by him being the one who says that, is in a way a challenge to Henrey

Richard opens the book by claiming to be a good liar, and in every situation where he lies he does it horribly is the funniest thing ever

Henry was a budding serial killer, and I think that by the simple fact of giving poor Charles those pills

I also don't think Bunny was as bad as the group made him out to be. Richard is obviously a self-admitted unreliable narrator, but I really don't think Bunny was as bad as they were making him out to be

sure he was probably really annoying, but the week before his death I don't think he was being purposely antagonistic but acting afraid

and in a sense when Richard found out about the murder, that was bunny signing his death certificate.

i think Henry was always going to kill Bunny, he was just waiting for a good enough excuse

when Jullian left Henry started decompensating like a serial killer, and that's why he lost control when talking to Charles

and while it is clearly the best choice to send Fransis to the police, Henry tells Charles to go because Charles is easy to manipulate

i think Fransis is obviously disalutioned by Henry from the beginning of the book, while Charles and Richard were still drinking the Kool-aid

Camilla is obviously romantisized by Richard, and I think that in all reality he probably viewed women in a simmular way Bunny did

in Camilla's descriptions she is often barefoot, and he makes note to mention that during the act of the murder she wasn't present

he also compares most women to Marion a person he thinks is too stupid and girly

people forget how physically imposing henry is, by Richard describing him it almost infantilizes him, in a way.

he is physically imposing which made him look odd, but he lifted camila with great ease, and lifts weight despite is limp

i think he hurt camilla by pulling out her hair, and hurting her wrist

i feel bad for bunny because while he was teetering over the edge he must have been so afraid

richard and henry could have been the same under slightly different circumsances

camilla is not as oblivious to things as people belive she is, obviously she is a victim, but the narrative implies that she is for lack of a better term, not completely innocent

she is a victim of her circumstances, but not completely innocent

richard clings to the group because they are every thing he wanted to

henry killed himself to achieve some fucked up version of godhood.

fransis is the most complex character because by the end of the book we feel bad for him despite taking advantage of 2 of the other characters in the book

he is also clearly in love with Charles but yk

CSA TW BELOW

okay so i think its pretty clear that Charles is a CSA victim

he very clearly has an eating disorder, and a alcohol problem which Fransis exacerbates by getting him drunk and hooking up with him frequently

not only that but he is really dependent on his friendships and is constantly paranoid that they are talking about him, but needs constant reassurance like a child

but also when bunny is making digs at the group, he starts talking about the preversions of the catholic church, i don't think that group cared, nor do i belive that any of them are particularly religious, but I do belive that Bunny was making a dig about Charles being molested by a preist

and if that's the case than his ultimate outcome makes the most sense,

that also makes sense why he would frequently sleep with camilla and fransis

feel free to message me so we can chat about it... this book has recently become my greatest obsession, or we can chat in the comments.

#a secret history #richard papen #donna tart #henry winter #omg #booktok #book review #books to read #bookblr #book blog #charles a secret history #dommed by the narritive

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octolinggrimm · 1 year

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WHY YOU SHOULD VOTE THE BAD END THEATER CAST

@doomed-bythe-narrative

Bad End Theater is a great game that I love with all my heart, but it also has like 45 dedicated fans max so I'm making propaganda to compensate.

Bad End Theater is a visual novel game, in which the main mechanic is your ability, as a participating audience member of a play put on by the enigmatic Tragedy, to influence the decisions of the main cast, steering them to different endings. No matter what, though...

It's always a bad ending.

Large spoilers for Bad End Theater below, if you care

(Large but not total, there's a line of spoilers for the ending and subplot I'm not crossing)

The Maiden

Lesbian

Grew up in a religious town

Doomed by the narrative

The Maiden is a girl from a human village, which lies nearby a castle ruled by demons. She has been told since her childhood that her destiny, as written by her god, is to be captured by the Demon Overlord, and rescued by a Hero.

Eager to get her destiny underway, she sets out for the Overlord's castle herself. On the road to the castle, she meets a Demon Underling. Depending on the player's choices, she either shouts for help or introduces herself, and the is met with either confusion or aggression from the Underling.

If the Underling does not eat her, they agree to take her to the Overlord. When she meets the Overlord, the Maiden tells her why she's come. The Overlord doesn't understand, and tells her she never had any plans to capture humans, and to stop worrying about her destiny so much. If the player's choices result in the Maiden staying with the Overlord for a while to talk, the Overlord tells her stories about demons, and the Maiden begins to realize they're just people like she is. She enjoys her time with the Overlord, and talking with her gives the Maiden butterflies in her stomach. But then, a Hero enters the room.

No matter what, even if the Maiden left instead of talking to the Overlord...

It's always a bad ending.

The Hero

Doesn't really want to be a hero

Grew up in a religious town

Doomed by the narrative

The Hero is a boy from the human village. He has been told since his childhood that his destiny, as written by his god, is to save a Maiden from a Demon Overlord.

When he learns of the Maiden's disappearance, which the villagers characterize as a kidnapping, he thinks it must be his chance. He heads for the castle, and on the way encounters some demons. Depending on the player's choices, he can slaughter them, or leave them alone and take the diplomatic route through. Either way, he eventually encounters the Overlord.

No matter what, though, if he slaughters the demons or spares them, no matter what he does when he meets the Overlord...

It's always a bad ending.

The Overlord

Lesbian

my gender

Doomed by the narrative

The Overlord is the ruler of the demons. She has lived her life unburdened by the idea of destiny, but her rule over her subjects is a bit shaky, and she's rather new to the position. She likes to think herself a good ruler, though.

One day, one of her subjects, the Underling, asks for some time off, as barely anything happens. Depending on the player's choices, she can either accept or refuse. Either way, the Underling runs off. If the Underling does not eat the Maiden, they bring her to the Overlord. The Maiden explains why she's there, but the Overlord doesn't understand. She doesn't care much for destiny, it just seems like too much of a bother. Depending on the player's choices, the Maiden either stays or is convinced by the Overlord to return home. If the Maiden stays with the Overlord, the Overlord tells her about what demons are really like, and the Maiden comes to think they aren't so bad after all. As the Maiden looks at the Overlord, the Overlord can't tell whether the Maiden is into her or not. Eventually, though, the Hero arrives.

No matter what, if the Overlord tells the Underling to get back to work or not, shoos the Maiden or not, fights the Hero or not, lets the Maiden go or not...

It's always a bad ending.

The Underling

Non-binary

La creatura

Doomed by the narrative

The Underling is one of the Overlord's subjects. They're one of the castle guards, but no one ever comes around, and it's unbearably boring. So they ask the Overlord for a day off. Depending on the player's choices, she either accepts or denies their request. If the Overlord denies their request, they go off to rant to their friends about her tyranny. Their friends agree, and reveal they've been planning an assassination. If the Overlord allows them the day off, they hear none of this.

Either way, they end up meeting the Maiden while frolicking outside the castle. If they choose not to attack her, they bring her to the Overlord, and go off to take a nap. Eventually, though, the Hero arrives, or their friends are ready for the assassination.

No matter what, if they get a day off or not, support the assassination or not, eat the Maiden or not...

It's always a bad ending.

Even if everything is perfectly in place to prevent the stop the Hero, the villagers, and the assassins from ruining everything...

They all burn together.

All of them are characters in a play written by the bad-ending-obsessed playwright Tragedy. You can alter the characters' personalities along set lines, sure, but they are the one writing the play. Not you. There is no way to save the cast. They are as doomed by the narrative as they can possibly be, written that way by an in-universe author.

Or are they?

Play the game to find out! (Play it)

I'll also link this wonderful essay by azuremist about the queer themes of the game. Be warned though, it contains more spoilers than I was willing to put here!

#bad end theater #bet #the maiden #maiden bet #maiden bad end theater #the overlord #overlord bet #overlord bad end theater #the hero #hero bet #hero bad end theater #the underling #underling bet #underling bad end theater #casting my net wide for this one i need as many bet fans on board as possible

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