More Than Just Boyfriends in the Dungeons
I've played enough dating sims with just men or just women as love interests that I wasn't expecting anything different here. Boyfriend is in the name, why would I expect girlfriends? And certainly I'd never expect a fellow nonbin-
Oh hi~❤️
Yeah, this game has not one, not three, but two nonbinary love interests. Mind blown.
Say what you want about them fitting into various tropes about who can and cannot be nonbinary, and I do wish they would've pushed even more boundaries here, but you've got to admit. This is infinitely more than I'm used to getting in a dating sim. I am feasting on these crumbs.
Speaking of weird tropes. There's a cat. Yes this cat is adorable. Yes this cat is a weapon. No, you don't date this cat in the same way you date the humans. No make out sessions, only cafe cuddles and ear scritches. Like the good lord intended.
Speaking of weapons. I haven't talked any about the actual gameplay. It's pretty fun! I didn't get any screenshots of just fighting (because any combat that isn't turn based makes me panic and not think about hitting the button) but it really is a great addition to this game. Actually. Maybe addition is wrong. The way that the battles are done and how the dungeons represent emotional conflict, it really is an integral part of the game. The story supports the battles which turn around and support the game. I feel like that balance has to be hard to strike given how most dating sims tend to shy away from gameplay like this.
Apparently this is the only endgame screenshot I got. I went back and got Sunder and Valeria's endings after this, too. But of course this is the first ending I got and the only one I got a picture for. Wonderful dating sim. Highly recommend.
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more cfau miscellaneous things because Childhood Friends Danny and Jason have my head and heart always and I need to finish rewriting chapter two dammit (and redo the half-finished chapter 4 because its just Not The Vibes). i'm almost through I need to get through the graveyard scene. (i just stubbornly refuse to have it be shorter than the original chapter and thats the little death. that is the mind killer.)
Danny and jason’s ghost forms both smell faintly like burnt flesh and cigarettes. However, Jason has a more smokey smell while Danny’s smells almost,,, electrical? In a sense? Like he just straight up smells like burnt flesh and sulphur while Jason smells like someone put him in a smoker first.
It’s very much an unpleasant smell but Danny finds an odd comfort in it just as much as he finds a comfort in the smell of nicotine.
(Jason post-revival smells burnt flesh once and is immediately offput by the fact that it brings him an instinctive comfort. He doesn’t realize its because it reminds him of Danny, and is uncomfortable by it.)
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In an au of an au, Danny’s altercation with Rath ends with Rath regaining enough of his sanity to snap out of the grieving state and ends with him breaking down. Instead of being souped and imprisoned, Rath, who is permanently 14, decides to Move On into the unknown. He’s exhausted, heartbroken, and tired.
(Is this influenced heavily by the ParaNorman scene where he talks to Agatha and helps her move on? Yes. But it doesn’t fit with the Original Storyline so im shoving it into an Au of an Au.)
Rath tells Danny that Jason lied to them (which he genuinely believes), and that he’s tired of waiting/looking for him/grieving. Jason is gone. He isn’t coming back, he abandoned them. And he wants his mom and dad, and his sister, and his friends. And he’s ready to join them.
He leads Danny out to Gotham, which other than Amity Park might’ve been the only city left untouched due to Rath’s own mental block on the place. They go out to the park he and Jason used to frequent or up to one of crime alley’s rooftops, and there Rath lies down and goes to sleep. Only to never wake up again, materializing into nothing as his soul moves on.
Before Rath leaves, he forces Danny to promise him that he’ll only wait for Jason for ten years. After that if he doesn’t find him, or if Jason doesn’t show, then Danny has to move on. Whether that be like how Rath does, or if its inly mentally/emotionally, doesn’t matter. He has to move on. Don’t wait for him. Don’t waste his time any more.
(“Oh, and if you find him, kick his ass for me.”)
Danny reluctantly agrees, and Rath lies down. Danny sings to him as he falls asleep.
(Angsty points if the vigilantes including Red Hood caught wind of their presence and were silently watching from the shadows. Rath might know they’re there, but Danny’s too focused on Rath to notice.)
(If only so that Red Hood realizes that this is what happened to Danny, and that Danny is gone before he can make things right. The tragedy, folks. The angst. The initial realization that Danny was Rath, and then also that Danny was dead and has been dead for years, and that before he moved on, he moved on believing that Jason abandoned him.)
(like i said it doesn't fit in the original timeline/storyline hence why its an au of an au and isn't nearly a fleshed out, but i was largely just focusing on the tragedy of Rath moving on and Jason being alive to see it and realize just who Rath is.)
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Just like how the Lazarus pits shot Jason's twiggy 4'6-5'4 (depending on what you find) feet tall and 86lb ass up like a tree an essentially fixed his malnutrition, the portal did the same thing for Danny.
(granted i forgot about malnutrition and danny's likely stunted growth at first -- his family lived in crime alley and despite both his parents working, I don't think they had enough food all the time. He probably wasn't as badly malnourished as Jason was, but he wasn't healthy either.)
Granted his ghost in its "natural" state (14) is short, and his growth spurts were slow at first, it did result in him reaching his dad's height. There were points where it just happened overnight, like a baby. He went to bed one night 5’6 and woke up the next day 5’10.
Jazz is shorter than him. Although I have't decided if she's even liminal at all (and if she is, it didn't cure everything because she would have also suffered childhood malnutrition, and since in au canon their parents didn't get their hands on physical ectoplasm until after they got to Amity Park. So the exposure is less.)
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Danny's voice absolutely sounds like canon Dan's. It kinda just dropped one day when he was 16-17 and never went back up. Sam and Tucker sometimes ask him to just talk about anything because they find his voice soothing.
I'm not sure yet how Danny would feel about it at first considering Rath, but I imagine that Rath, when he did speak, would have had a quieter and scratchier/weaker voice considering he's spent the last decade shrieking and crying.
(and i suppose technically that shouldn't have any effect on his throat considering he's a ghost and idk if that would actually affect him, but i like the idea so im keeping it)
In the beginning you could hear him from a mile away by the sound of his loud, echoing wails, but ten years later you can only really hear him by the soft, shuddering sobs he makes. Like he's gasping for air that isn't there. The future is full of very quiet survivors.
And it's much easier to speak when you pitch your voice upwards (especially when whispering/speaking quietly) so he might've spoken in a higher, airy pitch in order to be heard. So Danny might actually find a comfort in having a lower voice.
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How do you generate ideas for both plot and characters? I’m one of the hundreds who is swooning and getting her breath caught at the “what’s this, Granger?” moment and I’d love to know how you came up with the idea for this in particular + how you usually come up with other wonderful moments that constitute the glorious Lionheart saga.
Oh, gosh, you're lovely. When writing is good — and this is a big conditional, because sometimes writing is like riding a horse and sometimes it's like wrestling an octopus, and you can rarely predict which — I don't necessarily think about the Process. It's sinking into the world and going, "Okay, action." There's an outline lurking behind it, and latently I'm considering some miscellaneous higher-order ideas about theme and structure, but I'm not writing the book in order to talk about those themes; the themes are in the book because I'm writing it and I'm interested in them. I can't very well help it, they're gonna end up in there no matter what. I don't have to worry about the architecture when I'm doing the upholstery, if that makes sense.
Discovering the more specific character beats and exchanges like the one in Chapter 64 are one of the ineluctable joys of creation. Sometimes, I think of a line while I'm walking down the street, jot it down in my Notes app, and carefully, meticulously develop a context where I can deploy it. Other times, I'm standing there in the scene and a guy does a thing, and I'm as startled as anyone.
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Astaroph??? By what definition of less sane do you mean in the dragon au? Did he have any friends before cursed armor sought him out?
okay so the thing with astaroth is that you have catch him in his early personality development stages and give him a good hobby - in jtta this was stargazing and later music - and if you fail to do that within a certain window, he turns to other things for entertainment
in the dragon au this is jewel-thievery. it's not for any noble reason, he's literally just bored; any stealing-from-the-rich and giving-to-the-poor aspect is only because he didn't know what to do with the jewels afterwards
then the thievery gets boring too, so he starts making his schemes more elaborate until they're practically full one-man heists. still not enough? okay, what if he starts hunting these people around their own mansions? what if he starts setting up elaborate traps to get them? now that's what he calls a good night out
he goes after the rich, whether good or bad, just because they're the most amusing - it's a coincidental bonus if he kills off a corrupt landlord or abusive duke in the process. he's a decisive, occasional striker; he plans these things out meticulously, and so has never been caught
which is why it throws him off when wiz and alecto walk into town and immediately identify him, courtesy of the cursed armour. he decides to travel with them, again, purely out of boredom - because he does know that it's not normal to elaborately plan and carry out murders for fun, and part of him hates himself for it, but most of him just doesn't care
his objective in travelling is to find something that does make him care. in relation to how mephisto's story seems to naturally end in his death, i think astaroth's would involve actually coming to care for his travelling companions and thus feeling grief for the first time when this happens
(it goes without saying that he does not have anyone that he considers close before this)
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