I've seen a lot of people give names for the Voices, and as a Vessel enjoyer, I decided to give my names for them, too!
Damsel: Danielle
Prisoner: Priscilla (Pris for short)
Witch: Willow
Beast: Beatrice (Bea for short)
Tower: Diane (my thought process was basically "goddess, divine, Diana, Diane" for this one)
Adversary: Addison (Addy for short)
Nightmare: Natalie (Nat for short)
Spectre: Sienna
Razor: Zora
Stranger: Stace (gender-neutral name for a they/them princess!)
Burned Grey: Bernice
Drowned Grey: Drusilla
Thorn: Therese
Den: Demi
Apotheosis: Aphrodite (keeping with the goddess theme)
Eye of the Needle: Iris
Moment of Clarity: Clara
Wraith: Winifred (her whole vibe kinda speaks to her having an old-fashioned name, in my opinion)
Fury: Fiona (though I've also considered Alecto)
Wild: Wihelmina
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Someone had probably already pointed this out but I just love this little detail (Prisoner on the left, Damsel on the right)
In this specific shot of The Princess ripping her arm off, the background in the Chapter I before The Prisoner is very detailed and much darker, sharper, and clearer.
While in the Chapter I before The Damsel, the background is more undefined, it's much brighter, blurrier and fuzzier.
Also The Voice of the Smitten says this line:
UGH I LOVE THIS GAME AND ITS SMALL DETAILS
(Edit: Also I forgot to add but it's this specific shot of her pulling off her arm that blurs the background, afterward when she smiles at you the background is back to normal. It's like tuning everything out to ignore the horror of her pulling off her arm, and just focusing on her beauty)
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I absolutely LOVE Slay the Princess! It’s genuinely a game that I think is going to become a cult classic in the coming years. Definitely in my personal top 10 games of all time!
I absolutely adore how your choices actually matter in the game (unlike some games *cough* Tell Tales Walking Dead *cough*). I was also surprised about the outcomes of some of my choices (such as finding the Stranger first and getting an… interesting ending).
I’m so excited for the Pristine Cut of this game! I genuinely cannot wait to see what changes:
(And I think I read somewhere that the Den- which is my favorite route- may get more content :D)
I remember seeing this game when ManlyBadassHero played the demo, and it hooked me. So imagine my surprise when suddenly on my YouTube feed I see a video that says “Slay the Princess Full Game”. I avoided so many spoilers and saved until I could get the game and it was so worth it! Best $18 I’ve ever spent!
So as tribute to this game, here is a piece of fan art (and my first art post to Tumblr too)!
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Oh, what do you think of the spectre and prisoner then? (Sorry for the spam)
(See my thoughts on the Spectre here.)
I mentioned that I think the Prisoner is one of the more satisfying Chapter 2 resolutions, and part of that is that everyone involved acts like an adult and reasonable person.
It's also the route that involves the Prisoner cutting her own head off.
One of the things I enjoy about playing her route is that both the Protagonist and Princess start off with entirely reasonable suspicions. You've been told the Princess is dangerous, and while you might not trust the guy that told you, that doesn't mean she's *not*. Might as well bring the knife down, just as a precautionary method.
And the Princess, influenced by your perception of her as dangerous as she is, sees someone come down with a knife in his hand, into a situation where she's chained up, and is naturally somewhat concerned about this fact!
But despite this mutual (and again, reasonable!) suspicion, by being sensible people who are willing to discuss things honestly, if not entirely openly, come to a very reasonable 'let's get you out of here' conclusion. Yes, it involves cutting the Princess' arm off, but that's just the body. If she needs to lose a part of it to attain her freedom, who cares?
Of course, it doesn't work, because it turns out the Protagonist has something wrong with him. A voice inside of him urging him to kill her, making him even take a swing at her before he freezes up, clearly waging an inner battle over what to do with that knife.
So, naturally, to release him from that struggle and ensure her own safety she cuts his throat.
You know, like a reasonable adult.
Of course, this doesn't work, and she soon finds herself a Prisoner once more, now with some additional chains to make escape impossible, and the person who would've rescued her before being gripped by something is in front of her again.
But alright, that's not something that can't be overcome. They were both capable of reason before, and while the Prisoner is now a bit more cautious, and a little terse after her failed escape attempt, there's no reason they can't do it again.
The Protagonist, meanwhile, has found himself with the Skeptic, who starts asking a lot more questions about what the Narrator's been saying (but never quite questioning all the assumptions underlying things), including about the empty chains that seems to be pointless (but that you can trap yourself into).
And that's really what the Prisoner route is about, isn't it? The chains that bind you, both real and imagined. After all, a 'Prisoner' is really a very... transient characteristic, isn't it? You're a prisoner as long as you're imprisoned, but the moment you're not, that no longer describes you, does it?
Now, given that so much about the Princess is the result of the Protagonist's perception and understanding of her, it's his viewpoint that resulted in her being defined as a prisoner, likely as a result of the failed escape (similarly, she defines him as a skeptic who does actually question what he's told)
The Shifting Mound tells the Long Quiet, in the end, that the Creator gave him a choice, and her a role to fill. The role here is what the chains bind her to (the transient 'prisoner'), and she isn't given the power to free herself from it (this power lies in the choice, so the Protagonist). She could ask the Protagonist to free her, but he got weird about that last time, so she needs something else, something that the influence within the Protagonist (the one that wants her dead) won't catch on to.
And yes, that means she asks for his power, and gives her trust in exchange, because she needs the power to free her from the chains, but she can't then also use it to get her out of the prison. She needs help, and can't ask for it, because then the Narrator may put a stop to it. She has to trust the Skeptic to catch on and also not tip off the Narrator.
It's an intricate game she's playing, and it starts by cutting her own head off.
And if all of it works (and you're smart enough to catch on), they essentially pull off a big heist right under the Narrator's nose, establishing a relationship built on strong mutual respect, as colleagues more than romantic partners, but still close.
And if it doesn't work, and the Protagonist fucks up, well, he'll find those very chains dragging him down just as well.
In short, the resolution here is a relationship built on mutual respect and trust, a willingness to go to some, uh, serious extremes to help each other out, and you get to pull one over on someone literally in your own head.
It's great.
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