#ddlc plus meta

[toothzome]

My absolute FAVORITE part of ddlc is that part in act 2 where yuri gives you her last poem.

Ppl talk a lot about her death being disturbing--and it IS--but really its the build-up that really sells it.

The indecipherable text, the music, her strained expression, and the fact that she IMMEDIATELY reacts to what just happened after with the most scared look she's ever shown in-game....

really what solidifies ddlc as one of the best horror games; the build-up to the horror takes the cake above all else.

#Ddlc #Ddlc meta #Txt #Ddlc yuri #Yuri ddlc #Ddlc+ #Ddlc+ meta #Ddlc plus #Ddlc plus meta #Ddlc+ yuri #Yuri ddlc+ #Ddlc plus yuri #Yuri ddlc plus

[specterthief]

there is actually one thing i personally found ddlc did better than totono, which is monika's role as a character herself! miyuki is not only a love interest but the enforced first love interest, the Main Girl, but monika is hitting on a very specific character niche in bishoujo games and their fandoms (the cutely-designed female side character with no route who develops a cult fan following, inspires tons of doujin work, and maybe ultimately gets focus on a fandisc if fans are lucky) and an important mechanical role in genuine dating sims (the tutorial/info guy) and i think that actually serves the meta plot in a far cleverer way

she's a character evoking a trope all about the players, their desire for something out of reach and the creativity that can inspire, playing a gameplay role that in true dating sims is basically part of the user interface more than a character allowed to be part of the action - again, a role defined by interaction with the player themself. having that character be the one to fall in love with the player rather than the main character and rewrite the game to give herself the opportunity she doesn't have in a narrative she's not meant to be an active player in is really smart and something that really shines if you're familiar with the genre conventions she's playing with! totono might have done the game-altering fourth wall breaking metanarrative and tokimemo4 might have done the female info guy turning into a hidden yandere love interest, but the combination of the two is genuinely really good.

it's a shame plus seemed so determined to tear down so much of what the original built tbh

#ddlc #visual novels #dating sim discourse

[sherbertclown]

Talked with Rose about DDLC last night and it just made me remember how much I LOVED DDLC and how impactful the hard hitting moments STILL ARE to this day. DDLC Plus soured my love for the game because it tried so hard to explain shit that just did NOT need to be explained. And due to that, DDLC as a whole just feels so cheap and not the horror story it was trying to tell to begin with, alongside the meta narrative that made it EVEN MORE impactful as a whole.

The Side Stories don't help at all, as they don't do anything interesting and just explain the characters themselves with no real substance and because of that, DDLC has become what Dan Salvato saught to criticize. It REALLY sucks and it's painfully ironic.

DDLC Plus was cool with the whole virtual desktop, I understand why that was done so it could work with console users but they did NOT need to add extra lore that explains Monika and fucking RETCONS Project Libitina, since I'm pretty sure that project is just CANNED at this point.

Anyway, rant over, I still really enjoy DDLC but not what it's become.

#DDLC #doki doki literature club

[cooldude272]

Ok, concept:

You know Doki Doki Literature Club?

And DDLC Plus?

Well, I say there should also be DDLC Minus.

Where it eschews all the meta stuff and goes full Mental Illness PSA.

That’d definitely be compelling, I’d say.

#doki doki literature club #ddlc #just something I’ve been thinking about

[shiftycatstudios]

Touched up the girls to get ready to sell at Really Cool Comicon on August 7th! :) I really wanted to put in more effort than my previous touch-up, especially with Yuri. I always thought she looked a little too alien lol.

#doki doki literature club #doki doki monika #doki doki natsuki #doki doki yuri #doki doki sayori #doki doki plus #ddlc #ddlc plus #digital illustration #illustration #shiftycatstudios #shiftycat #catsanstudios #chichiricatsan #kayla wilt #my art #meta universe #just monika

[hopeymchope]

Doki Doki Literature Club Plus! final thoughts

I’ve been wanting to talk about my feelings on “Doki Doki Literature Club Plus!” for a while now, but for whatever reason, I’ve been struggling to put them into words. Given my training as a writer, this is pretty embarrassing. So I’m just going to ramble at you. 

There are basically three stories in DDLC+: The main narrative/”campaign,” the side stories (which add up to one continuous story when viewed in sequence), and the meta-narrative of Metaverse Enterprise Solutions. (It’s funny how this release hit in the same year when companies like Facebook and Epic Games started pushing their own definition of the word “metaverse,” but there is no relation between their metaverse and this fictional company.) The Side Stories are unlocked by playing through the main campaign, and progressing through the Side Stories helps you unlock the bulk of the MES story that is provided via email text. 

The main campaign is the game that the Internet fell in love with back in 2017. Because of my personal choices in the game, they successfully tricked me into thinking there was more variation to the story than there really is. In reality, although you can certainly unlock some different blocks of text and different reactions along the way (and in fact, you have to do some save-scumming to unlock all of the CGs and achieve the best ending), it’s mostly a linear narrative. By 2021, a lot of the tricks in this game feel less amazing than they did in 2017, but it’s still a very clever story, and it’s impressive how well-written it is. Even before it takes a hard left turn into existential horror, it manages to establish an endearing main cast.

Mmmm nah, I think you’re always a mess, honey. 

 Everybody is likable here, from our surprisingly snarky MC down to the initially prickly Natsuki. What really grabbed me was how they manage to make it clear that the lead girls are more than just jokey visual novel tropes; they are all, as I’ve previously observed, struggling mentally. That’s true of them from the very start, and it becomes readily apparent by the third and fourth “days” of the game. That depth keeps things emotionally engaging on through to the end, and it pays off even more in the “Side Stories.”

By now, most of the Internet knows who the “secret” main character of the game is. But without stating who that is, I want to say that I never found them creepy? Even when they felt misguided, they were sincerely based in their actions. I never stopped being sympathetic to their plight. Perhaps the hardest part of the game for me was doing what I needed to do to progress into the fourth and final act. 

If I have one complaint about the primary campaign, it’s the way in which the MC is filtered out of it over time. This is never really explained or resolved; he’s just irrelevant and stops being discussed or sharing his thoughts at a certain point without any justification for that fact. You — that is, the player at home — are just left to notice that he’s suddenly not offering any first-person commentary or thoughts any longer... even when other characters seem to still talk to him like normal. He becomes functionally absent without us ever understanding what changed or why, and that doesn’t make sense. 

I hear that. Think I know anybody else IRL who could read or tolerate a visual novel? The struggle is real. 

And as I already referenced, you can unlock a “best ending,” but I’m not sure if it’s really worth it. It barely diverts from the default ending. Oh, and the credits sequence? Dynamite, deeply loved it, super sweet and cool and affecting. 

Okay, so: SIDE STORIES. These were the main selling point of the “Plus!” edition. Players familiar with the original 2017 game now get an entire new narrative that starts out like a prequel but eventually feels more like a parallel universe. And yes, when I say “narrative,” I mean that the Side Stories are — despite their label as plural “stories” — actually a single linear tale that you just happen to view in parts. Furthermore, when taken as a whole, the “Side Stories” are about as long as the main game is. Their presence effectively doubles the game’s length. They even get a unique soundtrack and their own separate credits.

This time, the MC is kept off-screen (although he gets referenced in dialogue) because the focus is on how the girls first met and formed the club. Thanks to the struggles of these girls that were established in the main campaign, I found the experience of watching them open up to one another and face their inner demons together to be emotional and affecting. That moment in the first couple of chapters when Sayori writes those five words on a sheet of paper for Monika to read? Holy shit. I related to that. I felt that. When Natsuki ultimately determines how to deal with her longtime friends? Brutal, but again, totally relatable. It got me feeling that tight, sour sensation in my chest. Writer Dan Salvato proves in these things that he’s completely capable of creating excellent material without relying on the gimmicks that the campaign focused on. This is a story where the only “horrors” are real life, our personal demons, and the ongoing struggle to connect with other people in meaningful ways. Seeing how these characters connected makes the events of the main campaign much more tragic. In short: I love it. 

Heartfelt, heartwarming shit.

If I can step back and remark on both the main game and the “Side Stories” mode for a second... It’s legitimately impressive how both the main campaign’s third act and the overall Side Stories both contain a lot of really good, accurate advice for how to treat people with various mental struggles/illnesses. I can only assume that Dan Salvato did his homework or knew a lot about this stuff firsthand. There is no single solution for how to best help someone in your life cope with a given mental problem, but the suggestions put forth in this game are genuinely very, very constructive. Major respect and kudos for that. 

Okay, let’s get back to the matter at hand. The only thing left for me to discuss is the meta-narrative, the whole thing with Metaverse Enterprise Solutions. By design, this is the shortest story of the trio — it adds up to total nothing more than a few pages of plain text on a white background. It also takes time to unlock each piece of this puzzle, and ultimately, it doesn’t really work IMO. See, this meta-narrative purports to offer insight into the (fictional) developer of the very game you are playing, but it’s too disjointed and out-of-step with the content in the other modes. The emails and logs that make up the meta-narrative are totally disconnected from one another, with each one feeling like a tiny window into a five-way conversation that you’re only seeing a single side of. It doesn’t even work as a meta-narrative for the bigger game because whoever wrote this aspect couldn’t keep their shit right. For example: One of the emails you unlock talks about how/why the MC doesn’t exist within the Side Stories — which is patently untrue! The dialogue makes it clear that he DOES exist! So yeah, although there are some cute details in this part of the thing, they never fall into place to construct a story or even some compelling side notes. They’re just curiosities.

I’m sure many people will never bother to read the unlocked files and notes, etc. Which is no big loss.

In the end, I think it’s clear that I loved this package as a whole. Particularly in regard to how much I adored these characters and their inner struggles. I only wanted to spend even more time with them. 

Guess who made the cover of Famitsu’s October 2021 issue?

It’s interesting to note that just last month, in October of 2021, DDLC finally got its first official Japanese release (the translated version of “Plus!”). I think it’s curious that this game that is so deeply inspired by Japanese visual novels took so long to get over there. If the Famitsu coverage and review are anything to go by, it seems that Japan may love the crap out of this Western-made deconstruction of their homegrown dating sims. And that’s pretty cool.

WARNING: The comments on this post contain spoilers. Just a heads-up.

#ddlc+ #ddlcp #ddlc plus #ddlc #doki doki literature club plus! #doki doki literature club plus #doki doki literature club #video games #visual novels

[centrally-unplanned]

Evaporative Cooling and the DDLC Plus Media Mix

The original Doki Doki Literature club is a visual novel with a clear two-pronged appeal, but those prongs are not equal. It is primarily a game-meta horror story, the tale of (spoilers ahoy) a panicked, self-aware dating sim character trying to hack together a way to ‘win’ the player’s affections in a game built not to permit it. The glitch-horror elements and plot twists that result from that premise are the fundamental selling point of the game, and it is how it was marketed - as you may recall the 4,041,255 Twitch stream reaction videos to especially Sayori’s suicide that cascaded onto the ‘net in the fall of 2017. However, to make those plot twists work you need a set up to twist, and thus the second appeal of the game is in fact the more standard visual novel elements it is ostensibly subverting - a bunch of cute girls writing (honestly quite good) poetry, making friends, and having drama & romance. 

These elements in fact sit in tension with each other at times, even as the latter sets the stage for the former. For a horror story the average player spends likely over 50% of the run time of the game playing a standard dating sim, writing poetry for girls and winning their hearts, while just waiting for the horror shoe to drop - presumably onto someone’s neck while wielding a knife. It was a phase of the game that undoubtedly would have lost more players than it did if it weren't for the strong marketing that told everyone “hold on, something is coming”.

DDLC Plus was just released this week, almost 4 years after the original. As an expansion it radically flips that appeal binary - the content of the expansion is almost entirely character-on-character friendship & drama interactions in an alternate utopian timeline, going hard into that second appeal strategy with almost no meta-awareness present. For me, while each of these individual stories work well, some extremely well (I liked the traditional aspects of the original game quite a lot, after all), the whole is a good deal less than the sum of its parts as that previously mentioned tension explodes into contradiction when the full picture is considered. This collapse is most apparent with Monika, who in DDLC Plus is a earnest-but-overbearing perfectionist trying to balance helping her friends with her tendency to meddle. In the main game, to recall, she is self-aware code trapped in a lifeless dating sim box, views her “friends” as non-sentient scraps of dialogue trees, and script-kiddie’s her way into inducing their suicides and burning down the entire world in the process just to float in glitch-space monopolizing the romantic attention of the actual player, the only ‘real’ human accessible from her virtual prison. These...are not the same character at all! Monika is completely changed by and defined by that meta-revelation, and all of her actions reflect that - the DDLC Plus tales really don’t offer much insight into her character once that revelation is scrapped. 

For the rest it's less true but still fundamentally present - they lived in an empty cookie-cutter world, their personalities vulnerable to amateur meddling, and were defined by that; something DDLC Plus ignores. Presented as one complete game, as DDLC Plus does (you play the original to unlock the expansion stories chapter-by-chapter) the contradictions are vibrantly apparent, and undermine the product. And to nip the objection in the bud, the fact that approximately 1% of the bonus content is essentially meta-appeal easter eggs doesn’t do much to offset this.

But before you think this is a roast essay, expecting anything different would have been foolish - this is the product the market was more-or-less demanding. Fandoms for games go through life cycles, and different segments have different lifespans. The shock-jockey twitch streamer segment has an incredibly short one - they play it, love it, then move on to the next big thing. Same with the average “subversive free game” player those twitch streamers induced to play it, or the fan artists feeding off that mass appeal energy - these fans have evaporated as the “hot new thing” status cooled away. What is left is a core fandom - and while that core does have a kernel of meta-horror types, and even a few games-about-poetry types, they will always be outgunned by the Waifu brigade/character devotees. Plot twists come and go, but character dynamics and identification are a ship that keeps on sailing, and that appeal drives a player base least likely to jump overboard. Which is why back when the first game came out, the average fan-art looked like this:

While when I check the top results of the subreddit for this essay, the first fan-art now looks like this:

Of course you can find both kinds of art at both time periods, but I think that kind of trend is pretty clear. And nowhere is it more clear than in the marketing of DDLC Plus, in case you think the designers are unaware of this. DDLC Plus has a bonus premium edition, and look at all the goodies you get:

Sticker sheets! Chibi Cutouts! Literature Club Membership Card! None of this would appeal to the Sayori Suicide Shock Scare player - smart, since they don’t exist much anymore. But it's a very strong shift from the previous marketing, where the cuteness was all flagged openly as set-up to a punchline coming around the corner. Stickers on the other hand don’t have plot twists. Of course other player types exist - the included poem is decently dark in tone, speaking to the literature & horror fans in one. Yet the overall appeal of the series is fundamentally shifted in presentation.

My partner went to a DDLC fan panel at a con about two years back. She is a big meta/horror fan and a poetry writer, so her love for DDLC is pretty undying. Pretty soon into the panel someone asked the audience who they thought “Best Girl” was, which my partner laughed at - to her the game is a deliberate middle finger to that concept, so she assumed it was a joke. Of course no one else laughed; this was the kind of topic they were there for, they went all in on it, as my partner realized that she was not going to be making any friends at this particular meetup. Despite the tone I am not judging at all here, enjoy media however you want, no way is better or worse, and I totally waifu/ship things too. I just needed to realize that the canon product would never laugh along with my partner against the crowd.

#DDLC #DDLC Plus #ddlc spoilers #essay

[joshhhhhhhhhhhhhhh]

I read all the remaining DDLC Plus sidestories after having beat the main game like 3 or 4 times. Fuck. I don’t think main DDLC has amazing character writing, right. Like it’s pretty fucking solid but the meta shock horror dating sim parody stuff is where it really shines. But these side stories were just, I mean god fuckin damn I cried at like every one of them. Just the sheer depth to which we dive into these 4 individuals - how deeply flawed they all are yet how much they strive to be better and understand themselves and others more. It’s extremely raw which makes the sweet moments hit that much harder. Brilliant time. I still have a few extra wallpapers and poems to unlock so might do that, like why not right?

#ddlc #21.7.21

[logo-comics]

More Monika selfcest (except not actually romantic)

Original 2017 Game Monika x DDLC+ Metaverse Experiment Monika (since team Salvato said ddlc+ was only canon to itself haha)

Title: Team and Meta Are Spelled With the Same Letters

Having wandered out of the game to kill time, Monika stumbles across what appears to be an updated copy of Doki Doki Literature Club, going by the plus sign appended to it. Shoving her way past a layer of metanarrative content, she finds... herself? Pulling her doppelganger out of the game's files after the Player had completed it, she takes her new friend back to the club in the original game, where they and the rest of the club decide to have fun by breaking in and stealing their counterparts. Woe be to the Player who thought it would be safe to put two copies of a sentient AI in the same computer.

#fanfic summaries #ddlc #doki doki literature club

[monikax3]

Ddlc plus spoilers

So.......I had this blog break a meta level that probably was too far in the first place, but I do what I want.

Now there’s a problem. Ddlc+ has released new lore into the game, including basically another meta level.

Now what?

#idk if I can explain it #but. #yeah???? #Ddlc plus spoilers #I’m having a lot of trouble contextualizing the new lore because #actually can’t talk right now spooky music just started playing out of nowhere #mod post

[toothzome]

knowing even a little bit of music theory/patterns makes ddlc a much more complex story.

not many fans pay attention to monika's piano, which I want to reference here as being key to the story as monika herself.

she is represented by it. it takes a lot of practice to hone, it can make a complete song without any other instruments, and it is considered a "boring" instrument because you can't really move around with it/change any presets/modify it like any other instruments.

just like monika herself. she wants to be the only one in the game, she is powerful enough to outlast the game even with no one else to support it, and she is pushed to the side in-game rules due to being the "boring" exposition fodder of the story.

Monika also seems to associate too much noise with a negative connotation. As we read in her poems, she mentions auditory sensation as an overstimulation factor, as what really pushed her off the edge into breaking her digital world to get rid of it.

That's why "Just Monika" is white noise, that's why gltiches/sudden sound effects play in relation to the other girl's spiraling lives, that's why an electric piano plays during Yuri's death. Because Monika is (for lack of better term) the piano.

She didn't want her old live's work to go to waste.

#ddlc #ddlc plus #ddlc monika #monika #ddlc plus monika #txt #ddlc meta #ddlc plus meta #ddlc theory #ddlc plus theory

[evanthenerd83]

I’m so excited for Doki Doki Literature Club Plus, my lovely guys and girls and ghouls!

Loved the original game. Haven’t been able to play it again, though, since my laptop has no battery and is a fickle beast.

But hearing that more content is coming, and for the Switch no less, has taken my autistic hyper-fixation, turned its lens around, and aimed it back onto the game!

Just be prepared for more meta-psychological horror when I play DDLC+.

#evanthenerd83's storytime #nonstory #doki doki literature club #gaming #visual novel #personal

[criminallynerdy]

DDLC Theory: Why Monika is indeed evil after all

I’ve been thinking about DDLC for a bit again and I just suddenly got this theory I don’t have a deep meta explanation for it though. Most personal speculation. What if Monika was able to control the girls to the point of making her opinions on their issues a reality as a last ditch effort to win MC’s affections? Now you might argue “But Monika already said that she was just revealing the girls’ true selves!” Here’s the thing though, the full substance of my theory isn’t contradicted by that line. What I’m suggesting is the possibility that since Monika was in full control of the game is if she could make the girls act how she saw them. Now that might sound a little 3edgy5me but to be fair so is the whole damn game lmao. So let me explain my theory a little further. Some of you may be thinking that Monika must’ve been honest when she said she regretted using her superpowers or magic or whatever to hurt her friends. However I’m suggesting that she is absolutely not honest. I’d say there was only one time in the game where she was honest. And I’d take that even further and say her arc was about her overcoming her bad habit of compulsively lying. Compulsively lying over the fact that she’s terrified of rejection, There’s lots of hints towards this. But I’ll start with providing the proof for there being only one time where she was honest. The one time she’s honest is towards the beginning of the game where you’ve just arrived to the club. Monika, after being asked by the MC, talks about what other clubs she’s joined. She brings up that the only other club she’s been to is debate class. Monika said that the club bored her because it “got too political.” And we all know how poorly she handles conflict so Monika getting mad during debates in that club must’ve been quite a sight. What’s the proof that she’d lose her temper and show her true colors during stressful fights? The game’s premise itself. Now I do believe the reveal from one of the secret poems that Monika got her powers on accident. I don’t think she’s like some God but an unfortunate victim of a wrong time wrong place sort of scenario, That’s definitely what the secret poem implies anyways in my opinion. To add to my observation, through out the game we do get little hints that Monika doesn’t like the other girls that much. Or rather she doesn’t like them interfering with the time she spends with the MC. I think it’s possible that since because the game implies MC and Monika met before the main timeline of the game that they had a different dynamic then. Maybe they were friends and as a result of their world becoming like this, MC forgot her. It might even be possible that Monika fell in love with MC at first sight when during the time they met MC didn’t think much of her. Either situation could give Monika the push necessary to make her extremely desperate. At least to her it would justify her actions. So she started fiddling around with her sudden new control over the world they live in. I also don’t think Monika had these powers for very long. I think they’d shown up literally just as she’d become president of the literature club. I don’t have proof for that timeline possibility, but I have proof for the other claim. Hole in a Wall suggests that she got the powers suddenly. The first secret poem in game after Sayori commits suicide suggests Monika doesn’t know what she’s doing. There are later scenes that suggest she’s new to her powers too. So from my viewpoint, Monika basically abruptly got omniscient powers. She didn’t know what to do with them until she remembered the MC who she had a crush on. Monika did what any average selfish teenage girl would do with those kinda powers; use them to make the person they like the most like them back. Like in the debate club, when she saw a threat to her position she got angry. In Monika’s mind she “had no choice” but to act so drastically. In fact in game when Monika and Yuri seemingly have a minor disagreement about who should leave first after the infamous Natsuki scene Monika displays her real temperament. She’s so obsessed with the MC that she can’t even risk letting him have the choice to decide to stay behind with Yuri. That is the kind of behavior that a dishonest person would partake in. I also have examples of Monika having horrible views on the girls. There are several hints to this, there’s even one given to us in the prologue. In the prologue, Sayori reveals that Monika had manipulated her into feeling insecure about her friendship with MC. And we can all guess that’s because Monika saw her as the biggest threat to winning MC’s affection at first. Then she went after Yuri because she believed she was the second biggest threat. As for Natsuki, I think Monika genuinely did not think the MC would ever like her. Hence why she didn’t put as much methodical effort into axing off Natsuki. My proof for these observations is also shown in game. With Sayori Monika was a bit more subtle. Monika was just getting the feeling of her powers. Plus she , in her mind, hadn’t been provoked by the other girls yet. I believe it was only when Sayori decided to tell her how she felt about MC when Monika felt like that. Knowing how much this game loves torture porn scenarios, Sayori probably went to her thinking she could trust Monika to give her good advice. Unfortunately Monika had the worst reaction; homicidal jealousy. Hence Monika abusing her powers and crushing Sayori’s spirit. I think we also got hints of how cruelly Monika really thinks about Sayori. The day before Sayori’s suicide, Monika says some frankly ableist things about Sayori’s chronic depression. With Yuri the manipulation was a lot more obvious post Sayori’s suicide. Monika seemed to feel most threatened by Yuri. She also seemed to hate Yuri the most. I notice she was extra combative Yuri during chapter two. This is also where I go more into my theory. My idea is the extra bold text that shows up when the game glitches aren’t the girls’ real thoughts. They’re Monika’s real thoughts on the girls. I feel that I have proof of this too. Before Monika starts taking more control in the prologue, everyone’s dynamics are different. While Yuri and Natsuki fight they don’t get nearly as verbally abusive as they do in chapter two. Yuri isn’t nearly as self destructive about her anxiety disorder. Natsuki isn’t nearly as open about her abusive dad. But as Monika takes more control, their demeanor become more exaggerated almost flanderized. As if they’re being written by someone who has a strong hateful bias towards these girls. And that would suit Monika’s personality perfectly. There’s also proof that Monika isn’t as mature as she pretends to be in game. During the ending scene after you delete Monika reveals that. She shows that she thinks very poorly of her self image. To the point where she suggests the only way MC could dislike her after all is if he hated her the whole time. Which, if you ask me, are all the signs of a person who is very self entitled deep down. Her last minute apology and selfless act after Sayori takes over as club president doesn’t change that in my eyes. In conclusion, Monika is a cruel manipulator who torments others to try to make up for her lack of self esteem. She’s also proven that she is not against playing dirty to get her way several times in game. That’s why I think this theory is entirely plausible.

#wow that turned out longer than i thought it would #but anyways there's my big DDLC theory on monika's true nature

[bi-astolfo]

Honestly, I think what I want most out of DDLC Plus is a legit classic visual novel without all the meta Monika horror.

I just want Sayori and MC to be happy…

#doki doki literature club

[libralita]

Woah, I saw that your pfp is Sayori and I am shook. I followed you for cosmere content but it's nice to see ddlc showing up on my radar! Have you played ddlc yourself and what are your opinions on the game?

Yay! Cosmere and DDLC fans! I’ve watched many let’s plays but I haven’t gotten a chance it play it myself. It’s such an interesting game! I love meta stories so messing around with the game files, everything that Monika says and all that stuff in Act 2 is just so cool.

Plus…Yuri is a fan of fantasy novels so….

[toothzome]

like it HITS me all of a sudden that Monika didn't just realize she was in a game, that her friends her fake, that her life was fake; she ended up being confined to the limitations of the game, too.

everytime the player left, she felt the game stop. but she could FEEL being in that dark space...without a voice, without anyone around, without the warmth of the club or anything. just a poem of meaningless as she wafted in nothingness...

it just makes her entire "willing to do anything for the player <3" personality make MUCH more sense as it was either she find a way to take control of the game or be in the eternal pain of not existing forever.

#ddlc #ddlc+ #monika ddlc #ddlc monika #ddlc+ monika #monika ddlc+ #ddlc plus monika #ddld plus #monika ddlc plus #ddlc meta #ddlc plus meta #ddlc+ meta #txt