recently, i’ve been thinking about what a 100% social link/confidant run is like from the perspective of the persona protagonists, rather than the player. i’ve always been a sucker for thinking about the type of narrative created by a person’s gameplay choices (it can be so fun and deep) so!! i wrote this analysis / musing.
some notes before we start: this was written with the lens of persona 3 being the most recent game i played- but the concepts are applicable to the p4/p5 protagonists as well! no spoilers for any of the games are mentioned; this is moreso a general discussion of ludonarrative dissonance with the game mechanics and narrative and how it makes for fun angst (ft. personal interpretation).
(more under the cut!)
the framework: game mechanics
in all of the games, the social link system’s existence coincides with the social stats mechanic. certain social links require a specific set of stats in order to initiate it, or surpass a certain rank. each game has around 20 of these- each of which represent the major arcana (+ some bonuses, e.g. aeon / jester / faith / councilor).
for any players going for a 100% social link run, this basically requires each social stat to be maxed out. anyone who’s followed a guide for a 100% run would know that the beginning of the game tends to be very “strict” with how time can be used, most of which involves getting the stats raised as soon as possible.
outside of characterization and worldbuilding, completing social links are incentivized for a variety of gameplay reasons. so how could this completionist play style affect the protagonists?
prioritizing social stats over everything else: a general view
regardless of which protagonist you want to put under a petri dish, with a 100% run, you’re essentially asking the protagonist to form amicable bonds with 20 or so people, give or take. granted, not everyone becomes adjoined to the hip to the protagonist.
personally, i feel that forming 20 different bonds over the course of a year would be rather strenuous. during these 100% runs, the protagonists may feel that they’re spreading themselves thin trying to dedicate their resources to multiple different people as well as raising their “social stats.” i find the implications that this has on said bonds is so, utterly fascinating.
while this isn’t reflected in the game and would be better represented within a fic, i find it difficult to believe that this type of behavior doesn’t have any ramifications on the quality of the protagonist’s closer relationships (or their self-image, for that matter).
just… imagine calling one of your close friends but then they consistently give responses along the lines of “lmao sorry i’m busy doing other things,” and they rarely make the time of day for you. how would you feel? gameplay-wise, this deterioration of the relationship is best represented in persona 3 with social links reversing if you haven’t spent time with them in awhile.
part of my fascination with this concept is influenced by my own experiences. trying to maintain so many relationships can be difficult to keep up with and it quickly gets overwhelming (see dunbar’s number for more information). jumping between so many people also makes it difficult to focus on a few relationships meaningfully- meaning that relationships may be limited to being simple pleasantries. even then, ‘successfully’ keeping every relationship satisfying comes at the cost of being unable to pursue your own development and interests.
overall, i think that trying to do so many things ends up lowering the quality of the relationship(s) involved, especially when you also consider the fatigue from going to school as well as fighting shadows.
playing the therapist friend / listening role: a general view
another aspect of the 100% run that i think about is how the protagonists rarely open up to other people. a good chunk of SLs follow a storyline of the protagonist acting as a therapist friend/helping the other person through one central issue. some SLs are an exception to this and have a more casual “we’re just hanging out vibe.”
basically, SLs tend to be weighted toward the other character’s growth, moreso than the protagonist’s (which is handled by the main story). that said, the idea of mostly playing a listening role across most of your relationships and not having many that you feel comfortable to speak freely about your own stuff… feels really unbalanced and unhealthy?
i do think that part of the lack of “input” can be attributed to the silent-protagonist approach taken in the games (which is a whole ��nother topic). but!! i find that each protagonist’s options, while limited, are fun to think about! some of the traits and interpretations i’ve seen for the differing protags, to name a few, include:
being afraid to open up / get attached and keeping people at arm’s distance as a result
needing to be around other people, even if it’s just listening them, to distract from their own struggles / pretend nothing’s wrong with them
enjoying helping others, being a good and careful listener who can provide an appropriate and helpful response
the willingness to prioritize others over themselves; a lack of self-preservation
compulsive people pleasing
at its worst, the lack of “protagonist talking” or equal reciprocation in response could be misinterpreted by the other person as disinterest (like they’re talking to a wall). alternatively- the lack of “personal tidbits” could be taken as, “you don’t trust me enough to be able to open up, huh.” and i just think that seeing this in a fic would be the biggest shitshow ever (and i would read that).
concluding thoughts:
overall, i feel that the protagonists taking a predominantly listening approach to several relationships at once can lead to compassion fatigue and general burnout. the protagonists are rarely at the receiving end of being listened to and/or having their issues worked through… and that’s kind of sad?
while the 100% social link run can provide great power to any persona fusions (and other cool battle abilities + hijinks)... i ultimately think that there’d be a lot of mental strain that would make achieving this much more difficult when you take a narrative-emphasized approach.
i do realize that it is possible to see the general vibe of this post as “100% social link is bad,” but like… there’s something i find really appealing about the messiness of attempting to manage so many relations at once- only to fall short in several of them and attempting to salvage the last bits of their sanity. when you think about the complications of the 100% SL run from the shoes of the protagonist… yeah!! that’s the good shit!
anyways! if anyone knows of any fics with this kinda vibe for the p3/4/5 protags… feel free to drop it in my askbox… i like them all VERY much :3c… and if this raised any food for thought- i’d be equally honored! let the protags go through shit i wanna see their emotions and coping mechanisms damn it! 👏
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So, after watching the anime and reading the manga after seeing the live action I have a few issues with how they did the Arlong Park section (though it's still a super good adaptation overall). Some of them are bigger then others so I'll start with the smallest addition that bugged me even the first time I watched--Nami's chain.
First of all it just doesn't make sense, especially since they changed it so it was Nami who approached him on making maps and getting money for her village. Why would he chain her in a room to do the thing she already promised him to do? Also if he's afraid of her running away, why does he ever let her leave to steal money to buy the village at all?
It doesn't even make sense in manga cannon where he made her make maps for him, because she genuinely has no where to go and Arlong knows that. Arlong is no genius, but I think him using a chain on Nami makes him look stupid. The village people have already kicked her out, and in the LA even her sister hates her. Arlong knows she cares about the village because she's willing to risk her life to get the money to buy it from him. She can't run away because she knows he'll kill the villages in retribution, while she can't even really go home because everyone hates her for 'joining' his crew.
She essentially only has Arlong as a life line no matter how awful he is. He doesn't need to put a chain on her to keep her there because she needs him, both because she needs to buy back the village to save everyone, but also because when she returns to the Island Arlong Park is the only place she can go (especially in the LA where her sister hates her and wouldn't let her sleep in their old house).
The second reason it bothers me is because I can almost guarantee it was added because they worried the audience wouldn't understand just how bad Arlong was to her without him being more physically abusive. That or think the audience would criticize Nami for not leaving as a child. Plus it adds more angst to Nami's character--that was most likely why they changed it to her sister hating her as well.
The thing is I really don't think it was needed. Arlong was bad enough to Nami as it is. She was under constant psychological abuse due to Arlong holding the lives of the villagers over her head. Every injury she got because she was stealing money is his fault. Later during the Fishman Island Arc she has a flashback of the crew not feeding her. We have Arlong shoving her face into her desk because she purposely (or maybe accidentally) misdrew a map. He only started to treat her better as she grew up, but even then it was always clear he saw her as lesser and enjoyed mentally torturing her when he was given the opportunity.
Nami didn't need to be chained for her pain to be 'bad' enough. Her life was already terrible. She was already a victim of abuse, both physical and mental. The chain adds nothing and doesn't make sense in either the LA or the Manga's story.
Third, it does leave a sort of bad taste in my mouth that given the fish-men were coded more as black in the LA, that they had essentially a black coded character (played by a black actor) chaining up a white girl. It feels even worse when they added Arlong constantly talking about fish-men slavery--making it clear from the get go that's why he hates humans. That entire thing is it's own can of worms, but at least to me it does come across as kind of off-putting. When it adds nothing, and easily didn't have to be included it just makes it feel worse.
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Durmstrang Headcanons: Rules of Admission and Muggleborns
(Those are not canon, but headcanons based on the idea/implication that Durmstrang is an exclusive private school, as well as the name being based on Sturm und Drang.)
Technically, the rules of admission for Durmstrang did not exclude muggleborns.
That is, there was no written down rule of "Student has to have one or two magical parents".
Instead, the rules simply worked in a way that made it almost impossible for anyone without existing connections in the magical world to comply.
Unlike Hogwarts and Beauxbatons, Durmstrang did not send out invitations. Instead, students had to apply many months in advance, which of course required knowing about Durmstrangs existence first.
With the deadline for applications at the end of January, many muggleborns wouldn't even find out they had magic before it had already passed.
Next, Durmstrang taught students from all across Europe, but most classes were held in German. So, the application also required proof that students could speak the language, easily justified as a means to make lessons go more smoothly.
Of course, if you were a witch or wizard with the means to send their child to Durmstrang, you would start those language lessons early and not run into any problems. And while that still left all the German, Austrian, etc muggleborns born between September and January in play, it still excluded most of the muggleborns outside of those countries.
Which is what the general education test was for. Again, officially it existed to make the selection fair and ensure a smooth integration into lessons. But as this test also included some hard questions about the magical world, it was often the excuse used to deny the few muggleborns that made it that far.
And then there was the price point. Durmstrang charged a pricey tuition for attendance, and didn't hand out scholarships. Again, it wouldn't keep out every muggleborn - but it would keep out "the poor", which was probably even more important for the rich elite that send their progeny here.
Lastly, Durmstrang restricted the number of students that could attend each year, which meant the school made a selection out of all applicants.
There was no official rule that excluded muggleborns. But as long as Karkaroff was headmaster, that selection simply never included them.
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the poll for how to arrange the brackets just finished with proceeding as originally planned winning!
so, without further ado, here are the lineups ^^
note :: songs with a * next to them may require a content warning. i'll provide specific warnings as soon as i have the time, but as of now please proceed with caution
main matchup bracket ::
alice of human sacrifice* by yugami p / fear garden* by chaa
magnet by minato p / romeo and cinderella by doriko
world is mine by ryo / world's end dancehall by wowaka
triple baka by lamaze p / the disappearance of hatsune miku by cosmo p
meltdown by iroha(sasaki) / luka luka★night fever by samfree
fire◎flower by halyosy / trick and treat by oster project
daughter of evil by mothy / dancing★samurai by kanimiso p
rolling girl by wowaka / matryoshka by hachi
madness of duke venomania* by mothy / alluring secret ~black vow~ by hitoshizuku x yama
senbonzakura by kurousa / outer science by jin
doubleganger by kulfiq / mikusabbath by utsu p
jinsei reset button by kemu / common world domination by pinnochio p
the fox's wedding* by masa works design / tokio funka by takamatt
heat haze days by jin / patchwork staccato by toa
six trillion years and an overnight story by kemu / lost one's weeping by neru
aishite aishite aishite by kikuo / echo by crusher p
setsuna drive by taki yoshimitsu / yoake to hotatu by n buna
a fake fake psychotropic by kairiki bear / therefore you and me by tadanoco
my r* by kurage p / i'm glad youre evil too by pinnochio p
chururira chururira dadada by kurage p / mkdr by deco*27
blessed messiah and the tower of ai by hitoshizuku x yama / 86 by dasu
law evading rock by neru / nakakapagpabagabag by dasu
sand planet by hachi / ghost rule by deco*27
monster by kira / hated by life itself by iori kanzaki
cause i'm a liar by mcki robyns p / honey i'm home by ghost
hole dwelling by kikuo / bring it on by giga
meteor by divela / seraphim on the ring by mitchie m
the court jester by thquib / casino by azari
king by kanaria / villain by teniwoha
lower by lanndo / phony by tsumiki
higanbana milk tea by vane / scapegoat by ghost
queen by kanaria / bug by kairiki bear
honorable mention bracket ::
electric angel by yasuo p (original), giga (giga arrange) / freely tomorrow by mitchie m
po pi po by lamaze p / go google it by wintermint p
black★rock shooter by ryo / bacterial contamination by kanimiso p
i like you, i love you by gevanni p / first love academy • school of true love by nem
(also a quick general note ! i don't have everything ready for a formal polished reveal at the time of posting this. i plan on updating this post with links to the songs and also a visual bracket when i have the time. they'll definitely be up soon, so make sure to check back in a bit for them ^^
i'll also make sure that reblogs are turned on for the final version!)
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