rathologic
our nature is our conscience's guard
no one, who wants to make up a story, will tell a lie / pathologic sideblog
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you mean you won’t become a killer? but you will! mark my words, that’s exactly what will happen.
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you’ve been the most interesting one to play with!
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Карты для проекта "Чумное таро"
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for fun, did some. man idk
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I'm so jealous of Daniil. Having only played the Haruspex route so far in both game, each time I'm invited to the Bachelor's place I turn green with envy at how he resides at an actual proper house with a real room and a real bed.
A real bed with a whole bedframe. A pillow with an actual pillowcase!! His bed even has sheets!
He has WINDOWS. His house is in a nice neighbourhood, and his roommate is a very attractive woman. There is actual furniture in his room. Not one hint of fungus growing on the walls or rust!
Can you imagine living there as your lair? Spending the whole game knowing you have a real house with a real bed to go back to at the end of each night? Seeing Eva's face every day before leaving to do quests?
Meanwhile, Artemy is stuck in this dumpster room of an abandoned factory. Cuddling with rats on his makeshift bed, held by nothing but a wooden panel, some boxes and a dream.
A pillow so yellow it has its own ecosystem where bugs established real estate. Is that even a pillow or is it some random rock Artemy found and chucked in there? Is it a stale loaf of bread?? Why is it hard looking?
But no, you don't even get to keep the rock roach pillow because in P2, they take it away.
Fuck you Artemy, you had it good for too long. No pillow now because what are you gonna do about it?. Fold your mattress instead to have a resemblance of a faux sense of protection under your most vital organ during the long hours of death rehearsal that you call sleep.
Somehow, they made the bed even more unstable looking. As if that thin panel in the middle could hold Artemy's weight without caving in. Oh, and apparently, I ran out of boxes to use for furniture because the bed and the table have to share custody of the same box.
We have downgraded into barrels now, as you can see :) No, I don't know what they used to contain inside.
Waking up every day to Sticky's snotty face telling me not to spit in the wind and nagging me about cleaning up the week-old human organs thrown around that are stinking up the place.
THERE IS MOLD GROWING ON MY WALLS. RUST FLAKES FALL FROM THE EXPOSED METAL PIPES DOWN INTO MY CEREAL EACH BREAKFAST.
This single wall holds so much mold and fungus that they started crossbreeding and evolved into new, never seen before types of bacteria. Satan's asscrack is more hygienic than whatever biohazard plagues of Egypt this slab of concrete contains.
I live in the gutters. My only neighbours are an illegal gang of minors with a hatred for furries and another illegal gang but of adults this time who sell me bullets way above the market price. A dangerous neighbourhood where you can't have shit because SOMEONE STOLE MY BULL.
The basement I reside in has no windows, the smell is pungent and fucking vile down here. There isn't even a space for a bathroom.
This is my kitchenette/bathroomette/showerette/cupboardette/surgery tools disinfection stationette/sinkette/watercoolerette/toilette/fridge.
also my buckets yk.
One bucket for the makeshift bathroom, another for holding important organs and loose guts during surgery, a third one as a cooking pot for making tasty meat grub soup and the final one for murky water after sweeping the floor.
What do I use to tell them apart? Oh nothing :) I just mix em up every now and then, oppsie daisy.
Oh and the floors are CONSTANTLY wet for some reason. Yeah sticky slipped and almost broke his neck the other day so watch your steps.
There is also this eerie room with literal garbage and broken furniture right next to the entrance. Don't worry about it, sometimes I hear someone crying and screaming for help when I'm trying to go to sleep but it's just the factory being silly lol.
Now this? This is where the M A G I C happens. This is where Artemy the Menkhu makes his famous herbal remedies and natural mixtures. This is where the Panacea for the infamous sand plague gets made!
In a rusty empty food can.
Falling into a bucket with shit stains.
MEDICINE BABBYYY. GET YOUR WEAK SOFT BONED ASS BACK TO THE CAPITAL BITCH, THIS IS HOW REAL MEN MAKE REAALLL MEDICINE!! RAWRRRRR🦅🦅💥💥
Meanwhile, dickovsky has the view of the cathedral and polyhedron just around the corner from where he resides. He has a backyard with a lake, and all I have is a swamp behind my basement. I trudge through the mud each night, collecting weeds and herbs to mix and trade so I and the two orphans who adopted themselves into my life don't go starving.
Not to mention the gaggles of herb brides loitering outside and giving me a false bad reputation.
That dandy douchbag has a pharmacy, a grocery, and a tailor right next door. The closest establishment to my shrekcore place of resident is a dingy basement bar with shady drinks and no bouncer to check for ID, I saw two kids in there once.
Pov: a qt3.14 surgeon says his dad isn't home and invites you over.
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your dogs and my hounds.
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Порванное — связать. Сросшееся — порвать.
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This exchange always kicks me in the gut. Is she right? Do Artemy and Aglaya live happily ever after in the Haruspex ending or do they break up like a week later?
#capella#aglayartemy#WHAT HAPPENS when the character who's the player stops being in a video game!!!#ask to tag (re: the slur)
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Am I in love with just a theme?
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new mod. changes the text interface colors. Well enjoy :-)
#mods#pathologic#pathologic classic hd#I didn't have as much time to test this one so PLEASE let me know here if anything's janky!!
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I don’t know how to make art on tumblr look normal, but I just really wanted to draw
Her
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Particularly fascinated with Yulia this fine evening. How her character deals with applying logic to the illogical, and her “Tripwires of Fate” theory presents an almost rational counterpart to the Mistress’ prophetic abilities. @shriika said it best, that Yulia’s character poses the question, can you accept the existence of all the miraculous and unearthly and assign it reason and logic, which Imo first subtly appears in how Yulia treats twyre and disease. She claims that despite twyre’s supposed preternatural properties are “superstitions and remarkably little else. It has psychoactive properties, after a fashion, but then so does simple wormwood.” She likewise claims that the shabnak is no less a “real” than bacteria as a plague-source; that the shabnak and microbes are two understandings of reality. I.e. she says, “You amaze me, Bachelor. Did you not make fun of the shabnak rumours yesterday? […] Still, you don’t hesitate a moment to accept a rumour of an epidemic as veritable truth. Is the concept of the disease that much more familiar to you than that of a maneating abomination made of clay?” To me, these rationalizations introduce how she is a crossroads between the fantastical elements in the story, particularly how Patho Classic treats fate.
Yulia’s character concept best clarifies her Tripwires of Fate theory; that she kept a diary in Town which allowed her to recognize “a rather symmetrical conclusion about the reaction between the movements of those people in town and the seemingly random events happen afterwards. […] Now Yulia is preoccupied with the question whether these patterns are just a coincidence.” She herself says, “The world is defined by a plethora of causal relationships. These causalities, however, are located at different tiers of human perception.” This outlines the foundations of Yulia’s construction of fate, which leads directly into discussion of the Mistresses: “Take my own death, for instance. In our town, such coincidences have put together several women whose inexplicable aptitude allows them to see the whole chain of cause-effect connections. They also see where the chain would lead; which is to my death.” Daniil can then ask how Mistresses predict the future, or whether people can affect the “course of causes and consequences.” Yulia caveats her answer, but clarifies that a Mistress “would not hesitate to reveal the future” only if she “were to intuit that there is not man or woman capable of breaking—or mending—these kinds of connections.” This explanation is based in Yulia’s vocabulary: she uses these cause-and-effect chains of likelihood to foresee events, such as anticipating Clara’s visits. But Yulia’s explanation is one of the most explicit insights the game offers on the mechanisms of the Mistress’ clairvoyance, so I’m inclined to treat it as more than just Yulia applying her own vocabulary to the phenomenon. Rather, as one way the game might want us to see how foretelling works here; especially since this explanation is remarkably close to how Simon describes magic in some game material.
Simon claims that he does not practice magic, but manipulates “an invisible combination of causes, leading to moderately predictable consequences.” He specifically claims, “To produce a magical construct sometimes requires tens of even hundreds of people. They must be close at hand, and they must be predictable. To take their life line, read them, learn to make a match: that’s an art that you call magic.” Simon’s ‘magic’ appears to parallel the Mistress’ clairvoyance, as it rests within predictable or assured cause-and-effect. It also apparently allows for human action alongside some kind of predetermination, because as the Mistress apparently only foretell futures that individuals’ actions will not change, human will and predetermination are put aside one another, but not apparently conflated. This also recalls Yulia to me in that Simon ‘explains’ his magic through patterns and order—constructs which can be placed on the irrational to rationalize it. With regards to Yulia, Simon’s statement is most similar to when Yulia explains her apparent loss of sense to Daniil in their first dialogue; that she has “lost [her] ability to make distinctive events coincide.”
Another parallel between Yulia and Simon/the Mistresses is their role in constructing the Town. Simon/the Mistresses are its metaphysical architects, while Yulia played a role in its construction or design, having come to town with an engineering team “when the town was being rebuilt.” Yulia also joins her understanding of fate to the Town proper, as her character concept contextualises her theory thus: “there are invisible strings that cross every road in town (collectively — a Path); cutting them will result in a series of harmful accidents.” So to me, Yulia ultimately offers a “rational” equivalent to the Mistresses and Simon in a way, where she helped design the Town and is capable of perceiving the connections between events which grant one the ability to prophesy in-universe. She is logical rather than in the fantastical domain of the Mistresses, characterizing her foretelling through the scientific. She states, “[…] I base my speculations on rigorous research, even though it may not look veritable enough to you. You see, in order to calculate the probability of either outcome, I had to extrapolate the two mathematical functions, which you may find to be somewhat... esoteric” or “Oh, the joy I feel when everything falls well in line with what I have predicated—by which I don’t mean the brute probabilism your mother would sort to, but a watertight, well-ground calculation of likelihood!”
Yulia also poses an interesting counterpart to Daniil; both are rationalists with a tendency towards the fantastic, yet Yulia is a fatalist and Daniil consistently refutes fate’s existence. Both characters’ theories foreground imminence and inevitability—Yulia literally theorizes over inevitable fate, while Daniil’s fight against death is sometimes framed as one against inevitability. Daniil even tells her, “You wouldn’t believe it, but some of my theories are quire similar to yours” and “The story of my life, believe it or not. Trying desperately to draw their attention to what seems to be painfully obvious, offering any conceivable proof that these ‘coincidences’ must be studied! To no avail.” But what really makes me want to bury myself in the floorboards is Daniil’s claim that, “I would have told you that I’d been brought here by the hand of fate not so long ago, naïve man that I was…” That is. Both Yulia and Daniil appear as people who have, to an extent, distanced themselves in different ways from aspects of Utopian doctrine, but Daniil remains a Utopian while Yulia obviously does not, and instead founded the Humble ideology. Lara’s portrait quote address this somewhat: “This fatalism of hers is depressing and crushing, and it’s appalling to see a mind that bright base its theories upon a false foundation. I believe that any predetermination is an insult to the freedom of choice. I guess it all goes back to the past, when she worked with the Dream Party.” This is my speculation, but I think Yulia’s fatalism and according view of human nature explains her potential broken alignment with the Utopians, as it is incompatible with their ideology.
For one, Yulia’s theory is ultimately about the necessity of death, which is framed as her “crime.” When Clara claims that Yulia isn’t evil, Artemy rebuts her specifically by saying that “Yulia is the ideologist of humility. She came up with a scientific justification of necessary death.” Yulia says of herself, “I don’t qualify as wicked, but you can call me a criminal… in a way. Just don’t conflate the two. You see, I am of the opinion that it was your duty to end us.” Both dialogues suggest that Yulia believed—presumably on account of her dabbles in Fate—that the Plague could only end with Clara’s sacrifice, that the only way out was through death. Besides Yulia’s general we’re doomed talk, she tells Clara, “I get the feeling that every move you make may be reliable predicted. This is not an opportunity I would ever miss for it feeds remarkably well into one of my theories… perhaps, the most pessimistic of them all.” That latter sentence feels like proof, to me, that her theory of “necessary death” is about Clara’s ending. Yulia’s conclusions thus feel antithetical with the Utopians,’ not just narratively, but that the Utopians are all about possibility.
I also want to look at this dialogue between Yulia and Daniil:
Yulia Lyuricheva: Is this so? If I die, the universe would not notice my passing. But what if there are people who are the walking embodiment of the law by which events are connected to each other? What would happen to the universe if any one of these people were to die?
Bachelor: Do you think you are such a person?
Yulia Lyuricheva: When I was a child I took enormous pleasure in thinking I was one. Later in my life, as a student, I rather saw it as an honour of which I was not necessarily deserving. Today, however, I treat it as a somewhat scornful affliction.
Bachelor: Why?
Yulia Lyuricheva: People like these are a natural hazard. Their mission exists as long as they believe in it, and others suffer from its consequences.
The dialogue trees point to Yulia speaking about Simon here, and in that sense it provides more possible internal logic for why Yulia became disaffected with Utopianism. Yet Yulia’s portrayal of Simon feels very Clara-esque to me as well. As I have mentioned before, there is a consistent idea to Clara’s character that her faith in herself is what manifests her miracle-working abilities, as according to Rat Prophet, “everything she believes in comes true.” This dialogue with Daniil then seemingly underlies Yulia’s gradual disaffection with Utopian values and subtly introduces her dynamic and view of Clara. Yulia is certainly intrigued and fascinated by Clara, but not particularly warm or empathetic to her. When Clara speaks of being a saint, Yulia is fairly harsh with her, she says, “You? A saint? What kind of imbecile would call you that? Is there even a God that you believe in? You are a changeling, and your sainthood is the lamest kind of mimetic apery.” Yulia appears interested in Clara only insofar as she is convinced that Clara is destined to end her and others in the Town, and in doing prove Yulia’s theories. On the Clara note, I think another element to Yulia’s incompatibility with Utopianism is how Yulia views humanity, since she professes to believe that human nature is evil, telling Clara “Let me remind you how intrinsically evil people are.”
Of course, that might be an exception, but caveats aside: the Utopians believe emphatically in the “power of the human spirit and the infinitive scope of creativity,” a sentiment reinforced by Daniil’s “The point is that in this case, the winner will be […] mere humanity. Any kind of it—even malicious, and yet still a living one.” Humanity appears central to Utopian doctrine, and so someone who considers humanity evil feels necessarily opposed with this to me. I also have no conclusions to this, but cannot stop chewing on how in this game, which so heavily lambasts utopia, Yulia’s conviction in inevitable death is a wicked thing, particularly since she created the philosophy of the healer who manages to break free from fate. I *cannot* stop thinking of it in context of that Saburov quote, that, “A desire for miracles, an endeavour to achieve the impossible... are inherent to humans. However ugly the particular form they might take. Who can dare deprive humans of a dream?” Yet maybe Yulia has some lingering Utopian sentiments? Particularly in her affection for Eva, someone who Imo epitomizes Utopian ideology yet whom Victor describes as “enamored of death so bizarrely and persistently” and resolves her aspiration for the miraculous through her own death. There is just smth about Yulia being in love with someone who for better and worse seemingly embodies Yulia’s potential old ideals alongside her present conclusions about inevitable damning fate...
#yulia lyuricheva#long post#the last part w eva Specifically reads to me as about yulia's hypocrisy rather than an attachment to utopianism - as it connects to her#cutting off the stamatins for the same reasons...
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