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friendandphoe · 2 years

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TWO DAYS LATE BUT HAPPY BIRTHDAY @ahbonjour I LOVE YOU HAVE SOME NEW MOVIE HOUSE BRAINROT

also @museumlad and @creativeskull95 you may also enjoy this have fun

David calls Donnie at 2:37 pm on a completely nondescript Tuesday with a brisk, "I have a proposition for you," in lieu of a hello.

"Shit, babe, let me grab the condoms and the lube, I can be at your place in fifteen." Donnie says, because his mouth moves faster than his brain and both of them hate him.

David's eye roll is practically audible over the phone, but so is his smile when he responds, "I'd literally rather fling myself into the fires of Mount Doom than get anywhere near your dick ever again. No, doofus, I've got a work thing. Interested?"

"God, yes." Donnie groans. Thank someone David Peterson is his best friend before his anything else and is used to the shit that comes out of Donnie's mouth. "I told you about my new set, right?"

"I thought you said you didn't have anything."

"Because I don't, Dave. The new set is a whole lot of nothing. I've been tearing my hair out for weeks trying to think of stuff, my brain is, like, fully fried at this point."

David snorts. "What, our breakup didn't give you any material to work with?"

Donnie blows a raspberry, flinging an arm over his eyes even though Lark's been gone for, like, a week doing some business bitch shit and isn't around to see his dramatics. "Do me a favor and be more of an asshole so I can actually pull something out of it. There's nothing funny about an amicable break up."

"Statistically, between the two of us, you're more likely to be the asshole about it." David points out. "Write a joke about how you jumped on the chance to fuck as soon as you heard my voice."

Donnie has. Many of them. None of them have lived to see the light of day. "You propositioned me, motherfucker. You literally said, 'I have a proposition for you' and expected me to not take that in a fucky direction?"

David snorts again. "Go get laid and then maybe we can progress past two sentences without you thinking I want to bone down."

All half-formed jokes about this conversation immediately fly out of his head. "David," Donnie begs. "I will literally pay you whatever you want to have you never say the words 'bone down' in reference to sex ever again."

"I am only ever going to call it boning down from now on." David says immediately, because he's an asshole. Not enough of one to use as material for a good comedy set, but to be honest, Donnie thinks he can live with that. He’ll gladly settle for missing out on comedy gold because of a peaceful breakup if it means he gets to keep his best friend. "I think you should bone down so that you stop thinking that I'm trying to bone down with you. I’m just an innocent business boy trying to do my job—"

Never fucking mind, this man is terrible and Donnie hates him. "Oh my god."

"—and here you are sullying my good-natured intentions with thoughts of boning down—"

"Stoooop."

"—when all I've ever tried to do is live by the eternal words of our lord and savior Britney Spears. I just want to work, bitch. All my long nights at the office, all my running around trying to find you, my dearest friend, a well-paying gig, because even though our amorous relations have since ended I still hold you near to my heart, and yet! You scorn my kindness with advances towards boning down.”

"I'm dying. Literally dying."

“Distasteful behavior, truly. Horrendous. You’re a rake and a rapscallion and I shan’t do business with you anymore if you’re only going to lust after me the whole time. ‘Tis a futile endeavor, Donaldo. Your feelings are simply unrequited. I daresay you have transformed into what is known in some circles as a simp. Do you know what a simp is, D? I learned that one like a week ago. You’re down bad tremendous, as the kids might say. Bone down tremendous, even."

"I'm gonna — I'm hanging up, Peterson."

"Alright, fuck you then, I don't have a job offer for you."

Donnie whines. "Nooo, Davey my Davey, I didn't mean it, let me pay rent this month."

“Are you going to listen to me talk about internet slang.” David says, punctuating each word with a clap.

“No, because it’s, like, basically all AAVE and I bet you literally anything that Lark and my mom have been saying that shit for years.”

David snorts. “I would pay good money to hear your mom use the word ‘simp’ in a sentence.”

Donnie laughs. “Pay up, then, that’s Black 90s shit."

"Goddammit, internet," David mutters, and Donnie's phone chimes.

"Goddammit, internet," he agrees, pulling away to check whatever notification just came in. Venmo: David Peterson paid you $30. — Reparations — Your Venmo balance is now $30. "Alright, you're forgiven."

"God bless and goodnight," David says dryly. "Can I give you this goddamn job offer now."

Donnie waves a hand airily. David will sense it through the phone. "See, if you'd started with that instead of 'I have a proposition'—"

"Donnie."

"Shutting up now. Blow me away, Peterson."

David clears his throat and puts on his Business Professional voice. "Donnie Frasier, on behalf of Love Productions USA, I would like to formally offer you a position as presenter on the reboot of The Great American Baking Show."

Donnie jolts up, eyes wide. "Shut up. You're joking."

"I am not."

"DAVID."

"Mhmm." David hums, smug as hell. "We're location scouting right now, but once we have that settled we'll fly you in so you can get acquainted with the crew while we're holding baker auditions. Once we've found our twelve and they're signed on, you'll stay on-location for an additional ten weeks while we're filming. You're looking at a period of about, uh, maybe fifteen to sixteen weeks total? Just the one season for now, but, y'know, contract is open to renewal depending on ratings and reception. Food and board are included, and we're probably working with your regular rate, but I'll have to double check our budget with Jay. Obviously you know Lark has already signed on as a judge, we just got George Fox of 'the Corporal Cooks' on as the other judge—"

"DAVID!"

"I'm producing, natch, James Matsuki is with me on that — him and Fox have someone in mind for, uh. Shit, either floor manager or director, I don't remember, but Lark and I wanted to recommend you for presenter. We're trying to get Mags Taylor to go on with you—"

"SHUT THE FUCK UP."

"—provided you accept." David finishes, like it would ever cross Donnie’s mind to refuse. "You wanna hear who else we have for crew? I've actually worked with a lot of them on other projects, they're good people."

"Absolutely fucking not, I'm in, I'm in, I was already in as soon as you opened your beautiful perfect mouth! David!" Donnie hollers, scrambling up and out of bed and down the hall into his kitchen, flinging his laptop open with feral desperation. "Did you — I have to — does Susan know, I have to email Susan —"

David huffs. "Who do you think I am? I emailed Susan about it like three days ago, she said to go to you directly."

"THREE DAYS?"

"Jesus fucking Christ, Donald."

"YOU HELD OUT ON ME FOR THREE DAYS, DAVARIAH?" Donnie bellows, whipping through his inbox. There's a handful of offers from venues to host him for shows, an update on the ongoing thread from his tour manager — there! The sacred [email protected], nestled right underneath what might be a fan that somehow got a hold of his professional email address.

"Tell Susan to respond to me faster, then." David says mildly, rustling something on his end of the call.

"Leave my poor sweet Susan alone, she's done nothing wrong ever in her life and it's not her fault you never loved me." Donnie fires back, scanning through Susan's summary of the offer — same shit David was telling him, minus any name dropping, thank you best friend/ex-boyfriend perks. He replies with a very enthusiastic ABSOLUTELY HELL YES, which will not surprise Susan in the slightest. "Not even Susan can warm the frozen tundras of your heart."

David sighs, long and heavy. "You're such a fucking drama queen. I'm going to write a guide for your next partner, so they know how to deal with you."

"That's — fair, honestly. Make a note on my fabulous ass and sparkling personality, though."

"What sparkling personality," David mutters, but clears his throat back into Business Professional. "So, Donnie Frasier, do you accept the offer?"

Donnie pauses. "Am I allowed to have 'fuck yeah' on the record?"

David hangs up on him.

~*~

They've only been separated for three weeks, but Lark's airport tackle makes Donnie feel like he's returning from World War 2.

"You're in!" Lark screams, ignoring the affronted looks they're getting from the other people meandering out of baggage claim.

Donnie squeezes hard around her waist and pulls her up, spinning her around twice for good measure. It never hits him just how much he misses his sister until they're reunited. "I'm in!" He yells back, and relishes the scandalized cough they get from the white lady brushing past them.

Somewhere off to their right, someone laughs. "Twinth, huh?"

"Twins," David agrees, and clears his throat. "Y'all ready to go?"

They're not, but Donnie knows how to compromise. He sets Lark back down in her feet and wraps an arm around her shoulders, grinning wildly at her as they set out. "Look at you!"

"Look at me!" Lark agrees, beaming back. She looks great — she's switched out her locs for twists and her blue sundress pops against her dark skin, and yeah, that's great, but underneath it all, she's glowing. She looks happy, she looks proud, she looks like a big fuckin' dead weight asshole has finally been kicked to the curb, thank God. There's a bounce in her that he hasn't seen in months, that he — and he would never say this out loud to anyone ever, not even their mom — worried she would never get back.

He loves her so much. He's going to vomit in all her shoes.

"Tell me everything," he demands, graciously letting her pull his suitcase out of his hands. "Did he cry? Tell me he cried."

David, whose relationship with Donnie overlapped the middle of The Brandon Saga, chooses this moment to start very loudly debating directions with the dark-haired guy he brought along. Donnie will give him the most platonic of high-fives for it later.

"Wouldn't you like to know, weather boy." Lark says airily, which means not here, not now. "How's it feel to have a big boy job, though?"

Donnie is a mature, upstanding, tax-paying adult and refrains from sticking his tongue out at his beloved twin sister. "I actually turned down Netflix to come do this dinky lil baking show with you, Birdie, so you better be fuckin' grateful."

"I've been blessed by your presence," Lark says immediately, bumping their shoulders together. "You should be on Netflix, by the way, it's total bullshit you're not. Like, I'm so glad we're doing this together, but—"

"No, you know what?" Donnie cuts in, giving her a little squeeze. "I'm excited about it. I'm taking a comedy sabbatical and I'm gonna do nothing but eat cupcakes and make you miserable on set and it's gonna be great. Netflix can eat my entire ass, honestly."

Ahead of them, David's friend snorts, breaking off the direction debate to walk backwards through the revolving door. Donnie is thoroughly impressed. "From what I heard, Netflix is more of a 'no lube no aftercare' kind of lover. Executiveth, you know? They jutht wanna fuck you over and then roll over and go to thleep." The guy eyes Donnie up and down in a way that makes him roll his shoulders back and stand up straighter. Lark what the fuck taps him in the ribs and he shut the fuck up bumps her knee. Sue him, he’s a disaster bi and weak to authoritative gazes. She knows this already. “Your work’th incredible, though, I thaw one of your thows a couple yearth ago and I wath crying laughing. If Netflix doethn’t want you, that’th their loth.”

Donnie responds in the only reasonable fashion: he fans a hand in front of his face and swoons heavily against Lark, who cheerfully ducks out from beneath his arm and lets him stumble into a trashcan. “Keep talking like that and we’re going right to the bathroom, stranger.” He purrs, and they laugh, clear and pleasant. “Normally I make people buy me dinner before rawdogging me in public, but I can always make an exception.”

David suddenly whirls around from where he'd been leading the procession, brows furrowed tightly behind his glasses. “I fully forgot y’all don’t know each other.” He says, like it’s inconceivable to exist in a world where his friends don’t all run in the same social circles.

Donnie shrugs and holds out a hand. "I just assumed you kidnapped someone with a bigger car, T-B-H. Donnie Frasier, he/him. What's up?"

The stranger takes his hand and shakes, but keeps a severe facial expression. "I'm actually airport polithe, I'm here to inthpect your luggage for ilithit thubthtanthes," they say seriously, holding Donnie's gaze for two, three, four beats before cracking a grin. "Ethan Thtone, altho he/him, head of wardrobe and rethident big car boy."

"Fuckin' rub it in," David mutters, and lets Ethan swat him.

"I don't wanna hear anything from the man who dethided to thqueeze hith theven-foot ath into a clown car." Ethan says, cementing his place as Donnie's new favorite. “Go be useful and get Karen, I wanna thmooze. My car,” he answers as Donnie’s opening his mouth to ask the question.

“Why?”

“Because she’s old and white and complains the entire time!” David yells over his shoulder, disappearing into the parking lot with Ethan’s keyring.

Ethan makes an affronted noise. “He’th thuch a jerk,” he mutters, but there’s something fond tugging at the corners of his mouth as he says it.

“He’s single, you know,” Donnie blurts out, because his mouth continues to move faster than his brain and they both continue to hate him. He lets Lark smack him in the arm with a gleeful “Donnie!” because yeah, fair.

Ethan goes bright red, and he laughs nervously. “Oh, uh — yeah, I know. We, uh, actually worked together while, uh, y’all were thtill — a thing? Tho, uh. I know. I jutht think he’s cute, though, I’m not trying to, like, move in on anything—”

“God, please,” Donnie laughs, patting Ethan on the back. “He’s my best friend, but like. That ship done sailed, my dude. No hard feelings over here if you wanna, y’know.”

“Mount. Climb aboard. Cast off.” Lark supplies helpfully, grinning gleefully as Ethan turns redder and redder with every word. “Thank fuck you’re here now, Ducky, I felt like I was losing my mind watching them try to flirt.”

“We weren’t flirting.” Ethan protests weakly. Lark raises an eyebrow at him. “Honetht! I’m a terrible flirt.”

“So’s David,” the twins say in unison. Ethan groans and buries his face in his hands, muttering something under his breath that might be “abtholutely fuck me”.

Lark ignores him. “I’ve been telling him that Davey is available, too, he kept insisting he didn’t want to make things weird with you coming onto the project—”

Donnie emphatically waves his hands. “Fuck no! I mean, I for sure wanna get some popcorn and watch the show, but, like, from the point-five seconds I’ve known you—”

“Yeth, pleathe, let’th talk credentialth,” Ethan says desperately.

“What? No.” Donnie says, gesturing at Ethan’s everything with a raised eyebrow. “You’re cute, you dress well, you like my jokes, you don’t let David intimidate you even though you like him, I trust you already. You’ll be great, I’m excited to work with you, blah blah blah. Like, feel free to stop me if you’re legit uncomfortable, but—”

“Remember what I said before, E?” Lark interrupts, patting Ethan’s back. “About Donnie being a professional meddler?”

Donnie nods in satisfaction. “I am a professional meddler. Please let me meddle, we’ll bond and become best friends and ruin David’s life. It’ll be so good.”

Ethan looks up at the sky. Donnie doesn’t know why; if anyone’s up there, they know better than to mess with Donnie Frasier when he’s on a mission. “If I thay yeth,” he says uncertainly, and the twins immediately swivel like sharks smelling blood. “Can we at leatht be thubtle about it?”

Lark winces, looking at her brother. “Tall order, Ducky. Think you can handle it?”

Donnie flips her off with one hand and holds out the other for Ethan to hesitantly shake. “Ethan Stone,” he says solemnly. “This is going to be the best thing that’s ever happened to you.”

Ethan still vaguely looks like he wants the earth to swallow him whole. “I mean it, though, I’m really a terrible flirt.”

Donnie looks at his sister. “Vibe check?”

“Drama club Peggy circa 2016.”

Donnie stares in horror. “Please tell me it’s not the same vibes.”

Lark claps three times. Donnie throws his head back and cackles. Ethan looks like he’s about two seconds away from climbing into the sewer and living his best ninja turtle life. “It’th not — I don’t even know what that meanth, I’m not, like — thtop — thtop laughing, I’m theriouth—” But he’s grinning despite himself, because Donnie’s never once been able to hold a mildly uncomfortable conversation with someone without making them laugh, and he’s not about to break his streak now with all these fancy new TV people to impress.

“Ethan,” Donnie sighs, wiping imaginary tears from his eyes and slinging an arm over his new best friend’s shoulders. “I’m going to hook you guys up so hard. I cannot wait.”

A white Toyota pulls up in front of them, hazards on, and David climbs out of the driver’s side, half-jogging over to grab Donnie’s bags and shove ‘em in the trunk. “Everything okay?” He asks, mostly to Ethan, who’s beginning to match the color of the beret David used to wear in college. Donnie wonders if Ethan knows about the beret. Donnie desperately needs Ethan to know about the beret.

“Fine,” he and Ethan say at the same time, in wildly different tones of voice.

David gives Donnie A Look. “What are you doing to my wardrobe head?”

“Irreversibly changing the course of your lives,” Donnie says cheerfully, rubbing Ethan’s shoulder.

“Fucking delightful.” David sighs, rolling his eyes. “C’mon, I wanna get back to the hotel by five and you’ve still got a shitload of people to meet. Do not let Donnie bully you into anything you don’t wanna do,” he says to Ethan, just loud enough that Donnie can reasonably make a comment about it.

And he will. “You’ll thank me for this one day, boyos.” He says haughtily, and Lark laughs loudly, shoving him into the backseat of the Toyota and climbing in after him. She squeezes his hand hard as they’re settling in: I missed you. He squeezes back and grins at her. Missed you more.

David buckles himself into the driver’s seat and meets his gaze in the rearview mirror. “As long as you keep whatever shenanigans you’re planning off Jay and Alexa’s radars, I’ll do whatever you want, dude, I don’t give a single shit.”

Lark pulls out her phone to text someone. “Kinky,” she comments, grinning as David sputters in the front seat. “In front of Ethan and the entire airport and God, too? Fuck it up, my guy.”

“I’m in hell.” David deadpans, and pulls out towards the airport exit.

#HAP BIRTH OTTO I LOVE YOU #this is. not the last of mh gbbo au there is More To Come #im also using this opportunity to fix everything wrong with gbbo I Can Run It Better #also the rundown is: lark and fox are judges. donnie and mags are hosts. david and jaimey are producers.#ethan is wardrobe. juno is hair/makeup. alexa is floor manager/director. toby is social media manager. brandon is in jail where he belongs #this is a brandon hate account first and foremost #i might toss in various other vague MH ocs as crew and/or bakers we'll see how it goes #also might toss in Us as crew and/or bakers we'll see how it goes #ANYWAY IM SORRY THIS WAS LATE I HOPE YOU LIKE IT ANYWAY I GIVE YOU A GENTLE SMORCH AND ESCAPE INTO THE NIGHT #gonna go do my own baking bc i promised my mom mini hand held apple pies like 3 days ago and i failed to deliver. so.#movie house #gbbo au #all of them #shut up phoenix

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a-town-called-hometown · 2 months

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yippee! apologies if my takes are horrendously bad

my personal take on the matter is that i definitely think the dark worlds can work as a metaphor for escapism without undermining the darkners' personhood. it can be more than one thing, yknow? the darkners are important, their lives matter. and the lightners do go to the dark world as an escape from the problems they face in their own life. but that's not the darkners' whole PURPOSE, yknow? i mean. according to the laws of the universe of deltarune yes darkners' "purpose" is to serve the lightners but like it's not their whole purpose in the STORY.

it's sort of like how, in UNDERTALE, LOVE represents how distant you've become, how easy it is for you to hurt people. but it also literally gives you the power to destroy the world.

i think the biggest reason i believe escapism is at least a part of deltarune's narrative is queen.

queen's whole speech in both of her fights is about how she intends to provide escapism for the lightners (so that they will worship her but also so that they will he happy). she wants to turn the whole world into a dark world, so that everyone can live in bliss and not have to worry about the woes of the light world. she mentions "Staring, Tapping, To Receive Joy. Staring, Tapping, To Avoid Pain." which is like pretty much the definition of escapism

she wants to help Noelle with the problems she faces in the light world ("Noelle. Who Will Be There To Help Her? Her Strange And Sad Searches" and "My One Idea To Help Noelle, Failed") by just... shoving it away for a blissful fantasy world ("Wake? No, She Has Already Awakened Too Much. Let Her Close Her Eyes And Sleep Away, Into A Darker, Darker Dream.")

...i forgot the rest of what i wanted to say!

well first off, thank you for your ask! I'm going to get extremely in depth in my answer, so bear with me here. sorry it took several weeks to write this. the escapism reading of deltarune is pretty deeply entrenched in fandom, and to refute it, I felt it required a full-length essay to completely explain my viewpoint.

yes, "the lightners desire escapism" does not automatically translate to that being the darkners' actual narrative purpose. escapism can be a theme without dehumanizing those who are used in order to escape - in fact, I've read a number of stories that use someone's desire to escape to HIGHLIGHT how they're hurting others in pursuit of that. I believe that toby fox is definitely capable of telling a story about kids having a valid desire to escape, and about them grappling with having inadvertently created a world of real, living people as a result.

(I'll reiterate again that this is not the story arc that generally shows up in fanon. the common consensus is that the game will end in an omori-esque "growing out of" the dark worlds. it's why I have a huge dislike of the fanon escapism reading, given that the darkners are shown as people whose lack of agency parallels kris' own. it would feel cheap if the resolution to that plot was that the darkners were actually never meant to be agents in their own fates. but this is a digression.)

the reason why i DON'T believe that this is a story that toby fox is telling is because of the way the world, themes, and characters are written. put simply, it just doesn't come across as congruent with the story being told.

deltarune's main themes are agency, fate, identity, and control. this is a conflict that shows up in nearly every major character, is baked into the worldbuilding, and is the central struggle involving us, the player. the protagonist of deltarune is literally possessed by us against their will. the darkners are objects that have no choice but to serve and be discarded. over and over again, there is emphasis on roles that characters play - and crucially, roles that are imposed on them.

what would escapism mean, in this thematic context? in real life, escapism can represent any number of things, but in a story, a major narrative theme generally has to dovetail with other major narrative themes in the work. I would argue that escapism in deltarune would likely mean going to a place where characters are able to choose for themselves what roles they embody, or even to discard the notion of roles altogether. a fantasy of control is the only way to escape a reality where you have no agency. and honestly, it's hard to imagine that something could count as an escapist fantasy if you don't even get to choose whether or not you participate in it.

let's talk about kris.

I see a lot of discussions around kris that say that kris goes into the dark worlds to escape. the dark worlds are posited as kris' fantasy of heroism. it's a world where they can seem heroic and cool, a world where they can have friends. this theory makes a decent amount of sense on the surface level, but only until you consider that kris is being controlled in order to go into the dark worlds. and it is not a control that they appear to welcome.

if those worlds represent kris' fantasy, then why don't they get to choose what happens in those fantasies? why are they being controlled by an external force, one that they actively push back against? if it's really an escape, then why does everything about this world reflect their lack of agency? if they really think this world is just a pure fantasy, then why do they care if spamton falls when his strings are cut?

because they're being deliberately obscured to the player, it is hard to say how kris actually feels about many subjects... but I do seriously doubt that they view the dark worlds as an escape. they don't act in a way that is consistent with that. they resist their lack of agency, and what little we do see of their reactions to darkner characters doesn't suggest that they view those characters as part of a disposable fantasy, either. they seem to have complicated feelings on ralsei. and of course, one of their biggest emotional reactions in the game is to the spamton fight. I would argue that that suggests they have empathy for spamton, which is a hard emotional reaction to have if you believe he's just part of a fantasy. not impossible, mind you, but it seems unlikely that kris believes that all this is simply fantasy.

also, considering that snowgrave both actively discredits the idea that the dark worlds are mere fantasy and is actively traumatic for kris... I seriously doubt they'd open another dark world in chapter 3 on a snowgrave run if their motive was purely to escape. on that route, they've seen the damage we can cause in a dark world. they know that berdly has sustained lasting damage due to our actions, assuming he's not outright dead. why would they want to try and "escape" to a place like that again now that they know what can happen?

the only answer is that they have a motive that isn't escapist.

now, as for ralsei... what part does he have to play in all this?

ralsei does play a lot to the fun, fantastical elements of the dark worlds. he delivers the prophecy that kickstarts the adventure. he flatters both kris and susie endlessly when they act appropriately heroic. he welcomes them into the castle and even makes nice rooms for them. he initially seems tailor-made to enable a fantastical experience where no real issues can ever complicate anything, and where the pain of reality can successfully be hidden from. but there's a lot of complications to the idea that he might represent an escapist fantasy.

the first, and what honestly seems the most important to me, is that he doesn't encourage kris and susie to remain in the dark worlds. he is welcoming and kind, but once the adventure is over, he prompts them to return to the light world. he wants them to deal with their more "real" problems like homework. that doesn't feel like he is trying to facilitate escapism in them. a real fantasy would encourage you to stay in it, wouldn't it?

and while ralsei is definitely invested in making sure the lightners are happy, there are always cracks that show. he isn't able to make kris ignore what happened in the spamton fight. he isn't able to convince susie to be peaceful and kind. and in his very essence, he represents a number of uncomfortable ideas. very importantly, he represents a number of uncomfortable ideas to kris.

this probably ain't your first fandom rodeo, so I'm not going to explain all the different ways that ralsei interacts with kris' personal issues. there's plenty of posts on it out there. what i will point out is, once again, it feels odd that a character who seems tailor made to bring up kris' most uncomfortable associations with their lack of agency and their outsider status in their own family would be part of a fantasy of escapism to them. you'd think that they'd prefer something that didn't have an inbuilt hierarchy, a prophecy that denied them autonomy, or especially a person that reminded them how little they fit into hometown.

that doesn't mean kris doesn't care about him at all - it seems very likely that they do. what I mean to say here is that he just seems ill-suited to an escapism reading, both behaviorally and on a conceptual level. it doesn't seem like that's at all part of his servitude towards the lightners.

of course, there is another non-lightner entity that ralsei seems diegetically engineered to serve. but I'll discuss that later.

now as for susie...

yes, susie definitely views the dark worlds as more fun than the light world. and why wouldn't she? the light world sucks for her, and she doesn't seem very aware of the fact that the dark world can also suck. you could definitely make the argument that she views the dark worlds as a fantastical escape from reality... were it not for the fact that she treats her darkner friends with just as much importance as she does kris and noelle.

can someone treat components of an escapist fantasy as real and important? of course. but given deltarune's themes of agency and control, as well as the fact that darkners exist in servitude to the lightners, I feel like you'd have to make escapism tie into forcing others into a lack of agency if you wanted the theme to feel coherent with the rest of the work. this would require susie to be limiting the agency of the darkners around her. and obviously, she doesn't do that. her presence around them might be inherently limiting, just by simple virtue of being a lightner, but she isn't aware of it, and clearly is uncomfortable with the idea of limiting anyone's agency. she encourages ralsei to make choices. and she supports lancer in basically anything he wants to do. her treatment of lancer is integral to chapter 1's narrative, and it seems like that treatment of ralsei is integral to the ongoing narrative as well!

her preference for the dark world feels very rooted in her engagement with it as its own reality. rather than trying to avoid her real-life problems by engaging in a pretense, she seems to simply want to spend time with her friends in a place that isn't cruel to her. she isn't ignoring any of the dark world's problems in service of that, either. she notices when things don't line up. if she thought of it as a fantasy, wouldn't she be inclined to ignore issues that impede the fantasy?

and critically - like kris, she does not intentionally choose her imposed role in the prophecy at first. she steps into the role of bad guy to resist it, but that role is limiting too, and she eventually acquiesces to being a hero. it's never something she's completely on board with, though. she actively pushes back the limitations that the role places on her. I find this important to reiterate when we are discussing the notion of the characters viewing the dark worlds as fantasy.

noelle has a complicated relationship to the dark worlds. susie tells her that it's a dream to make her accept the strange reality she finds herself in, which works well on her. she continues to think of it as a strange dream throughout the chapter. (though, like the others, it is not a 'dream' she entered of her own volition!)

it is also a markedly unpleasant 'dream' at times. she has her agency restricted, is kidnapped, has to evade a controlling monarch, and is even tied up in a weird evangelion cross thing on the hand of a giant robot. it's not purely fun. noelle does like scary things, and while it might be healthy for her to have an experience where she stands up to a controlling adult figure... again, the circumstances make it difficult for me to assume that this is a fantasy she would choose for herself. not impossible, mind you, but it's not the first reading of the situation that comes to mind.

and while she does say she wishes she could dream like this every day in the normal route, that does happen specifically because she was talking to the girl she likes. it makes sense she'd find that pleasant. I don't think that necessarily equates to her finding the dark worlds escapist.

and importantly, this isn't the sentiment that she expresses in every route.

again, there's a lot of analysis on snowgrave, so I won't bother regurgitating it much here. but it's nightmarish for both kris and noelle, and very likely fatal for berdly. noelle needs to believe that the event is a dream, for her own psychological safety, but one of the most important parts of snowgrave...

...is that its events, and the world it took place in, are very, very real.

noelle wants to have the strength to face her problems, both in the regular route and in the snowgrave route. rather than escaping from them, she views the "dream" as a chance to practice dealing with her day-to-day issues. it's just that in the regular route she finds that strength authentically, and in the snowgrave route, that desire is manipulated and pushed until she is forced to kill berdly. she doesn't interpret snowgrave as an escape gone wrong. she views it as a dream that became a nightmare. and those are two extremely different things.

but i haven't even gotten to the biggest thing that undermines the concept that the dark worlds are a metaphor for escapism! which is: this fucking guy is dead wrong about everything.

so full disclaimer - I really love berdly. I think he's slept on a lot in the fandom because he's annoying and weird. which is fair, I suppose, but I think ignoring him hinders a lot of people's understanding of deltarune's overall narrative. because berdly often illustrates a lot of concepts in the game, but his narrative framing as a joke (usually...) prevents the player from taking it completely seriously. he has things to say and ideas to show off, it's just that he's often very loud and kind of dumb in his expression of them. which is kind of the point!

ralsei brings up the idea that the darkners are meant to serve the lightners very seriously in chapter one. by extension, and by way of the literal mechanics involved in a dark world's creation, we can infer that this logic is probably something that also applies to the dark worlds themselves. they are allegedly worlds and characters that only are supposed to fulfill a dream of the lightners. but due to narrative framing and deltarune's themes, we know that that's not the full truth. however dark worlds and darkners are created, they deserve to have their own agency. they can't just exist to fulfill a higher being's wishes.

you know who else undermines that view of the dark worlds? berdly! berdly does!!!!

because berdly is the only lightner in the game so far who does take the dark worlds to be an escapist adventure! he wants to turn cyber world into smartopia. he views this as a chance to be a cool hero. he believes he's going to get the girl, he's going to shape this world to his own liking, and maybe also he's going to get queen to acknowledge him or something so he stops being a forgettable little bluebird. and not only does none of this happen, his steadfast belief that it will happen is continually a joke within the narrative!!

berdly's wishes for uncomplicated escapist fantasy are flat-out denied by the dark worlds themselves. as a lightner, those worlds should be serving him. he should have the power to do whatever he wants within the bounds of an escapist fantasy. these npcs should be singing his praises!

but he doesn't have the power. and this world doesn't sing his praise. because it just isn't an escapist fantasy. he isn't right to view it that way. his wishes for heroism are always going to be thwarted.

so now that I've gotten all that out of the way, let's swing back over to the subject of your original ask. queen.

because, like berdly, queen's entire character arc is about how she's completely wrong about what the lightners actually want.

queen would in fact like nothing more to place the lightners into an escapist fantasy. she believes that that's the best way to serve them and make them happy forever. as a darkner, queen has very much internalized the idea that a lack of control is what actually makes people happy. since darkners have no choice in their destinies and are supposed to be happy in it, and since she personally finds her role as a darkner fulfilling, she believes that that's true of all people everywhere. if you want to make people happy, you just have to remove that pesky personal agency!

so she spends the story trying to force the lightners and particularly noelle into situations where she controls them in order to make them ostensibly happier. she does genuinely believe that this is the right thing to do, but as she finds out eventually, she's just wrong. noelle doesn't want that. queen believes that escapism is why the lightners use the internet... but that's totally wrong too.

while there are other searches mixed in, noelle is trying to use the internet to find her sister. instead of trying to hide from whatever happened, noelle wants to figure it out. queen's thesis about noelle and the lightners is proven wrong even before she personally encounters noelle in the dark world. it's just that queen doesn't realize it due to her limited perspective.

the concept of escapism being brought up with both queen and berdly is not there to say that the dark world is escapist. rather, it's there to say that it isn't. despite the dark worlds being a fantastical place, they are extremely real. to view them as a means of escape is foolhardy at best. you cannot act as though you are above consequences within them.

themes and ideas exist within the story for a sake of an audience. so let's get into the final character I need to discuss here. hopefully this will tie my thesis of deltarune together neatly.

that character is of course us. the player.

when creating a piece of fiction, an astute author will often identify and anticipate an audience's reactions to certain things in their work, and write things in such a way that they elicit the desired reactions. in essence, a writer is directing the "character" of the audience. how we feel and how we are anticipated to react to things is an integral part of nearly every fiction.

that effect is far more overt when dealing with metanarrative fiction that diegetically involves the audience. since the fiction is saying a lot of things about the general 'you,' the audience in aggregate, your reactions to certain things in the story have to be finely cued and anticipated by the author, so that the author can thus commentate on the reactions that you have to the story. the "character" you are assumed to inhabit is posited by the author to have certain traits.

to explain what I mean in plainer terms, I'll use the player of undertale's no mercy route as an example. because undertale is commenting on the way rpgs generally work. the player's behaviors in no mercy are attributed by characters in the story to be the result of us acting like a typical gamer. we kill the characters in the game because we want exp. and more than that, it's because we want to see everything the game has to offer. the role we inhabit in this role-playing game is that of a completionist. you could say that that's assumed to be our "character" in no mercy.

deltarune also posits that certain things are true of its audience. by being written to evoke certain cultural ideas, rpg tropes, and references to undertale, it guarantees that its audience will probably have certain traits, and spends a large amount of its conceptual focus commenting on those traits. one of those traits is nostalgia, which is probably an idea that I'll expound upon in a further essay because it's quite integral to my reading of deltarune. but the main one I mean to discuss here, and why I went off on this tangent about how audiences are dealt with in metafiction, is that we are posited as someone who believes in the logic of certain narratives.

deltarune's writing evokes a lot of portal fantasy narratives. alice in wonderland, narnia, pretty much every story where it's revealed at the end to be all a dream... the story of deltarune superficially resembles a lot of those. this, I think, is responsible for the popularity of the escapism theory. because those stories are often at their end about a child learning to put away fantasy and grow up, people tend to believe that deltarune must be about the same thing. but I truly don't think that deltarune is trying to do anything with that aspect of portal fantasy narratives, at least not directly. its main characters aren't involved in that exact type of coming-of-age arc.

instead, deltarune is very concerned with what happens to characters in fantasy, and specifically fantasy rpgs. if your world is deemed to not matter because it's a dream, what does that mean for you, who has no choice but to live in it? if you are an npc whose role has been predetermined for you via script, then can you ever decide for yourself what you want? what if you want to matter? what if you want to be your own person?

as the major controlling force of deltarune, we are initially cued to believe that deltarune is like a dream. it superficially fulfills so much of what we want from undertale fanon. hometown seems like it's a perfect idyllic town, at least until you start noticing the obvious cracks. and remember what I said about ralsei earlier? he is so reminiscent of asriel, and extremely eager to help us. it's not a stretch to say that making us specifically view deltarune as dreamlike and idyllic is probably part of his purpose in the game.

I would not say that we are posited as escapist. but the idea of escapism as brought up with queen and berdly is meant to strike at the heart of a much deeper idea that deltarune is trying to deconstruct. because if we view deltarune as a dream, escapist or otherwise, then we are inclined to write the internal realities of the characters inside off. the dark world can disappear without it mattering. we can control kris without it mattering. if it's all a dream, what does it matter? why should we care to let its characters go free? aren't we supposed to be in control?

if deltarune is an rpg... what is the significance of us interacting with it?

#deltarune #deltarune analysis #BIG big thanks to tvlandofficiall for being my sounding board and providing the flavor images for this essay #this one gets into some big overarching analysis of deltarunes construction and what it deconstructs. hope u enjoy

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