i'm really enjoying pathologic 2, actually. i mean, i didn't think i wouldn't enjoy it as much as i was worried it would just, i don't know, muddy the water. and maybe it will, but i'm not really bothered by that anymore. that said, i do think patho 2 took a fairly unsubtle game and increased its unsubtlety by about tenfold.
well. calling og pathologic 'unsubtle' doesn't feel quite right, but i'm not sure what word would feel right. maybe it's 'distinct in its sensibilities'. I think og patho felt more obtuse, whereas patho 2 is like. here. take it. do you get it. here is the information. do you see the themes. i am announcing them to you in such a way that you know that i am saying something thematic. i'm not far enough into the main story of 2 to be able to say that there's less reading between the lines, but it feels very much so far like there's less reading between the lines. whereas the original had a somewhat different... i don't know, affect? it felt like a hostile workplace where everyone recited shakespeare about even the mundane. in patho 2 nothing feels mundane in the first place, everything feels loaded in a way that og patho was but didn't feel, if that makes sense.
but i think that's okay. at the very least, it feels very much like leaning into the 'theater' aspect of it, which is enjoyable. pathologic 2 feels to me more like... bonus content? not to be Stuck Up For Pathologic HD but i enjoyed the feeling of grinding my face against a cinderblock, having to tease out information and conclusions. it felt like a game that you had to figure out, but you actually weren't really doing any ground-level figuring out of much; you're not a doctor, your character is, so the puzzle of Solving the Plague belongs to The Story, whereas the question of What the FUCK is This Town's Deal is your job. it's a very linear game in most respects, but all three playthroughs come through as a thematic package deal.
i so far get the impression that pathologic 2 can be played on its own and be enjoyed in its own right! however it exists to me as like. director's commentary. i'm really liking the playing with different character relationships and alternate things, the expanding of steppe language and the kin, love my worm guys, but i like it because of how it enriches my eternal mind rotation of og pathologic. sorry guys i played the original pathologic and it broke me and remade me in its image. sorry.
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One reason why I think Mila Finelli's mafia books do work for me better than most other (Italian--I did really love Kresley's series) mafia romance novels I've read is that the characters do feel DISTINCT and so do the relationship dynamics.
In a lot of these somewhat darker, more erotic reads, you do get the sense that any of the characters could be switched out for one another. The heroes are always the same types of alphas, the heroines are always the same types of a) virgins or b) defiant rebels who may also still be virgins, and what really sets the books apart are a few bananas scenes here and there, and some distinct sex scenes.
And while I definitely think there are distinct sexual dynamics and kinks at play with each couple (Fausto/Frankie are obviously daddy kink-central, Enzo and Gia are.... generalized freaks with some heavier BDSM by way of CNC vibes, Giulio and Alessio also have some D/s vibes but with a more competitive edge and are very into each other's violence, and Giacomo/Emma are obviously a breeding kink/softer touch vibe) they're also just super different people.
I guess the closest couples would be Fausto and Frankie and Enzo and Gia, but even then... Fausto is a dick, but he's more rational, more doting (see: daddy), and though Frankie is absolutely defiant and strong, I actually think that though she and Fausto have more of a traditional partnership in terms of gender than Enzo and Gia (which also could be because Frankie wants a billion kids and yes she has her MBA but she's very much a wife and mom first, whereas Gia is more about her career, which keeps them from being too similar). Enzo and Gia are more into the defined D/s shit sexually, but you get the sense that she has more control in the relationship and that, at the end of the day, he is very much... her bitch. Enzo and Gia have a very similar age gap to Fausto and Frankie, but Fausto and Frankie have more of a care-focused DD/lg relationship, whereas Enzo and Gia thrive on the friction of her giving as good as she gets.
And Alessio and Giulio, aside from the obvious of being the only queer relationship in the series, are very much coded as D/s as well... But not as inflexibly as the previous two couples. Aside from them switching it up in the bedroom a little, there's also a lot of space for Alessio to take care of Giulio. Like, Giulio kinda doesn't know shit about what he's doing lol, whereas Alessio is hypercompetent (which also makes sense, as Fausto for sure spoiled Giulio and Alessio has been in essentially a different class his entire life). So while Giulio is more sexually dominant, Alessio is really the stronger, steadier, and more threatening partner otherwise. And again, they both really get off on watching each other do what they do best, which is: crime.
I do think Giacomo and Emma have the softest relationship in the series--but it's not so much because she's this kind of babe in the woods virgin (and I will say, I did love that Frankie and Gia were NOT lol) but because Giacomo is just a much more tender guy. Like, yes, Fausto and Enzo both also had loved ones, but I think that because they'd both been running their shit longer than Giacomo had before he met Emma, they had these very set roles. Fausto and Enzo come off as more brutal, and honestly more crazy (like, Enzo is THE CRAZIEST for sure, but Fausto is a fucking nutball). Giacomo seems like a dude who's good at killing people and doing mafia stuff, but it's really like? His day job. It's not his life and it doesn't feel like his culture, even, which makes sense because he was on the fringes of the types of levels Fausto and Enzo have always been in, because his father and brother kept him separate from it. Even Giulio is more connected to that space than Giacomo, because he was groomed to take over for years.
I think it would be very easy to rely on these great sex scenes and wacky plots she writes, but the thing that does make it clear that Mila has the chops (.... and it also makes it clear that she's very experienced, lol, and someone who has had to write series with very individualized characters for professional editors in the past........) is that the characters are very DIFFERENT. Like, Frankie and Gia may both have their partners' balls in their pockets, but you see Frankie do a wheedling kind of little girl pouting thing to get her way with Fausto because she knows he looooves it, whereas Gia is like LISTEN UP ASSHOLE with Enzo (and it makes the relationship the best because nobody else can do that with him, Enzo and Gia are the greatest, thanks for coming to my Ted Talk). Giacomo is willing to let Emma go in a way that Fausto, Enzo, and honestly I would say Giulio too after working out some things, really aren't okay with. He's probably the best guy out of the series, on a moral level, while also being a scary murder man.
(Except for maybe Alessio? Because Alessio is also a scary murder man, but he literally just does it for the cash or to protect Giulio. It's PURE BUSINESS.)
I find the distinctiveness of the characters really cool, especially when I reread the books, and that is probably why I've had a hard time finding a series that really clicks for me in the same way within the sort of Italian mafia genre.
(That, and: so much of the other books center on Italian-American mafia stuff and that shit DOES NOT HAVE THE SAUCE the way Mila's Italy-set books do. Like, be real here, the Italian-American mafia has not been raking in this kind of cash for DECADES.)
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Okay that was great but the only thing I can think is "You really hit him with the dad beam, didn't you?"
-🔮🕸
There's just something so funny to me about hitting Draxum with the dad beam. These are his creations, made for war and violence and slaughter, and he was attached from the very start. Baron "I'm not a dad" Draxum mentally adopted these kids within a few days of making them, and it took him four years to figure that out.
Would he be a good parent? Debatable. He never intended to end up with kids, and keeping then essentially isolated from society until he officially got the adoption certificates was... certainly a choice. (He did it out of concern, of course, but the concern about them being taken from him overwhelmed the concern about how isolation might impact their development.) There's also the matter that I tend to write him with a degree of internalized ableism about his neurodivergence, and when your children are all neurodivergent that causes issues.
Also, putting four war machines into a regular school setting and expecting them to just be able to act like normal kids, especially when they don't even have a context for how normal kids act, is gonna create problems. Just because he thinks his kids are brilliant doesn't mean they don't get noisy and disruptive in a class setting or that they can sit still for more than five minutes at a time. I think he would hold them to pretty high standards for their educations, but they were made for war, not academic success. I think he would end up training them how to fight just to give them something demanding and high energy to do.
Not to mention that there is the slight issue that his kids actually believe that they were adopted since he never told them the truth about creating them (and it made sense to him at the time, they would have been too young to understand at first, and then later when they had to interact with people but hadn't learned to filter their words it would have raised too many questions).
So long story short, there's several fun points of conflict with this au that I would explore if I do more with it. And hey, I've already written a 2k fic about it so I might do more.
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