I did all three backstories for Touchstarved (I have 12 hours on this thing and it's only the demo)
Kuras and Vere don't seem to have red options, but Vere does have a secret ending and Kuras... I don't know, holds you for a bit longer?
For Mhin, it really is just picking The Alchemist backstory. You can call them short or whatever and you'll still get it.
For Leander, you have to take the flowers and keep touching him. It's okay if you hold back the first time even.
For Ais, you gotta tell him fuck you and pet the soulless, and after that red option pretty much all yours.
Differences I found between the three backstories:
It is pretty much like how they tell you, Oracle gets premonitions, Hound has experience with people and survival, and Alchemist has knowledge about magic and science, so there's different things you find out with each one.
The Alchemist:
I may be a little bit biased, but think The Alchemist is the most informative (It's also the first one I picked). There's the expected info of noticing that Vere's collar is enchanted, or knowing about how strong Leander really is when it comes to magic, but it's got the added bonus of MC's mentor having been in the Senobium in the past.
Compared to the others, The Alchemist is more familiar with Senobium, albeit through word of mouth. It's interesting how many times the MC says something similar to "I didn't know the Senobium did that." It calls into question whether MC's teacher was lying, or more interestingly (and what I think might be the case), the Senobium has changed a lot recently. It's talked about, even without the Alchemist backstory, that the Senobium used to be somewhere you could go to for help, but now most of the characters you meet do not like the Senobium, so what changed?
The Hound:
The Hound (the least popular option, apparently) was pretty fun. The Hound notices more about Ais, specifically that he's very suited to be a leader, and that the number of scars he has (one) seems suspicious for his temperament (or "how seasoned he acts", as the MC puts it).
One thing that I found very fun was doing Mhin's route as the Hound. They're somewhat able to keep up! They can (or tried to) recognize tells, and noted that Mhin was one of the few people who was able to sneak up on them. They also weren't sure how Vere managed to get their key. They were also prepared to steal to survive.
The Oracle:
While The Hound notices physical things, the Oracle notices... how do you say, otherworldly things. The Seaspring seems to be hiding a lot (of course it is), but the MC notices a heartbeat. A presence. They feel something from Ais. The name Ocudeus means something, they can feel it. They feel like they can see Ais' tattoo move.
Also, the MC feels something from Mhin and Kuras (in his clinic at least), which is interesting!
If I had to decide which love interest was better with which backstory...
Vere: The fact that the Alchemist thought that they could tell what enchantments were on his collar if only they could touch it feels promising! And both their connections (though I mean connection in the loosest term for MC here) to the Senobium makes it feel like you might very well find something.
The Hound might be one of the few who can actually survive this guy if I'm gonna be honest. (I mean you can still get killed by him but. You know.)
Ais: The Oracle's sixth sense makes going to the Seaspring a lot more interesting compared to the others, and the way they can feel something from Ais is very cool.
The Hound can tell his character better than the others, and I wonder how that will come into play later on.
Kuras: The Alchemist knows their way around spell-crafting and alchemy (When I picked this I wondered if they would be able to help Kuras around the clinic, which doesn't happen, but hey it might).
The Oracle seems to also feel something from him.
Mhin: First things first, their red option literally requires you to have the Alchemist backstory. Mhin's precision is noticed by the other MCs sure, but not to that detail.
Watching the Hound observe where they could be was so fun to watch. It feels like this MC will be able to keep up.
The Oracle feels something from Mhin, something inhuman.
Leander: The Alchemist was able to tell that the flash of magic was a barrier spell, and that most magic (or at least the ones they're familiar with) uses an incantation or spell circle. His didn't.
But either way, there will be things to find no matter the backstory you choose, and all of the character's stories are intertwined, so don't let this dissuade you from a specific backstory! There will always be things to find, you just need to look.
Extra: I found it pretty cool how each MC has a different way of knowing what a Groupmind is. Story-wise this makes sense of course, but each of their reactions to it are slightly different, from I heard this from rumours of people in cults (Hound), to I used to be told I could put people in a groupmind (Oracle), to legends suggest it was possible with a strong enough catalyst but it's never been done before (Alchemist).
Also, it's interesting to know what they each think of surroundings (specifically the Amaryllis district). They all have different opinions from I used to be told bizarre things about this place and now I kinda get it (Alchemist), to it's not that different from the place I grew up in (Hound), to it's VERY different from where I grew up in (Oracle).
And if I'm not mistaken, the reason Vere gives for your desperation is different for all of them!
You can find gameplay from me on my Youtube channel, or watch me getting all the red options and secret ending here:
I didn't read it out loud cause my mic sorta sucks and sometimes it peaks and gets a bit shrill. Also you see how my mouse moves sometimes? It means I'm screaming. I don't think I'd have been able to keep calm enough for this. Also my reading kinda sucks anyway hope you like it lol
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Okay, so my experience with Stranger Things is a weird one.
I didn't care when it first came out, started to watch it out of "might as well" in 2020, wasn't interested in it enough to make it past S2, forgot about it outside of going "oh, hey, cool, there's a lesbian in it now, I guess," in S3, got really annoyed when "Running Up That Hill" got popular from it because it was a song I listened to on fucking loop after one of my best friends died in high school and I fully expected its appearance in the show to ignore the whole survivor's guilt theme of the song (and was very happy to learn later that it did the exact opposite of ignoring the lyrics), saw people drawing Eddie, suddenly got a lot more interested, watched just the fourth season like a fucking psychopath because I was seriously only there for Eddie, then got interested enough to start the show over properly, having mostly forgotten what I did watch of the show before.
And let me tell you something from the perspective of someone who started with the complete fourth season, who wasn't there from the start, who wasn't tainted by ship goggles or this internal battle of hope and despair, who wasn't theorizing about what the painting could be or expecting Mike and Will to kiss when Volume 2 happened or rooting for Mike and Eleven's relationship to go down in flames or whatever the fuck. Just someone who went blind into Season 4.
It's really fucking obvious that Will and Mike are gonna be endgame.
Like holy fuck. It's so fucking blatant I don't even know why people are nervous.
No sane fucking person would shoot this scene this way if they wanted the audience to care about El and Mike as a couple. Despite being all blurry in the background, Will's reaction to what's happening here is smackdab in the fucking middle, clearly showing that the important part is what's going through his head here. What he's feeling. It's like the opposite of that scene from Kingdom Hearts II where Sora and Riku reunite and Kairi just fucking vanishes into the aether while it's happening because, despite the fact that she was standing between them when the scene began, she doesn't matter to the scene, so she's just kind of gone when the camera angle changes. Will could have been behind one of their heads, or so far in the distance he blends in with the background, but he's not. He's so obvious that despite being massively blurred out, he's still the first goddamn thing you look at. What, you think that's an accident? You think he's in the middle of this dramatic fucking scene because of a mistake? He basically has a big flashing neon arrow pointing at him with "THIS IS THE POINT" being screamed through a megaphone.
And then this?
They're paired up like they're taking fucking prom pictures. Each one of these pairs is so fucking close to one another and so fucking far from everyone else. It's not, "Oh, they're standing vaguely near each other in a group shot," it's fucking Noah's Ark out here. Again, there's no way to take this as an accident. It's not just a framing issue. If they wanted to make the shot look balanced while still not hiding anyone else behind El, they would have scattered people around much more naturally. Even if they wanted to keep Nancy with Jonathan and Hopper with Joyce, there's so much room on that hill for three people to stand on El's left and three on her right. But they didn't do that. They put Mike and Will together on purpose in the most obvious way possible.
Like I get that coming up with crackpot theories is fun in and of itself and I'm not blaming anyone for having fun. I totally get the appeal of arguing a point and reaching for every stupid little thing to pull into it because it's like a game, okay? I've done that. But if you're trying to actually convince someone (whether it's someone who wants to believe or someone who's pissed at the very idea that Mike and Will could be in love), stay away from blue and yellow lights, stay away from costume design, stay away from the existence of closets in backgrounds. And don't worry about whether Mike's gay or bi when he's in love with Will either way. I'll give you a little tip about persuasion: You're only as strong as your weakest argument. Even if you've got strong stuff in there, too, the person you're trying to convince is going to dismiss anything you say as complete insanity the second you start going on an entire tangent about the shape of a character's fucking pocket.
Sometimes, clothes are just clothes. Sometimes, there's a closet in the background because it helps establish that a character is in a bedroom. Sometimes, blue and yellow are just a couple of colors that look nice together. And sure, it might be set designers and costume designers and cinematographers smirking and winking at the audience from behind the camera. But if the show was just those things, instead of those things in the context of everything else, they wouldn't be saying anything of note.
But this?
This tells a story all on its own. Someone with no context can look at this and automatically assume that each paired person is standing with someone they care about deeply, seeking comfort as they watch some sort of disaster unfold. And yeah, romantic couples usually come in twos, and we live in an amatonormative society, so that's going to be the first association anyone makes seeing a bunch of people paired off.
It's the same reason you look at this
And go, "Oh..."
"Those two are probably a couple."
And I genuinely don't understand how people could have watched S4 Vol. 2 and gotten scared. Because as someone who went in with no investment whatsoever, I just looked at these two--
--and went, "Oh, those two are a couple. Good for them." And I moved on. Shut up about the trees for five seconds and just see the forest for what it is.
Oh, and if you're still nervous? Little thing from a storyteller here: You don't leave a hanging thread like "Will confessed his romantic feelings for Mike by projecting them onto El, but Mike either didn't understand or at least didn't say he understood," without coming back to that later. That's Chekov's gun hanging on the wall, babes. It's gonna fire at some point. If Mike was going to reject Will's feelings, if they weren't relevant, they would have had that discussion in Argyle's van. There'd be no reason to leave you in suspense.
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So I watched Office Space (1999) tonight and honestly? Twenty-five years later, its take on what makes corporate drone life so horrible is sort of quaint. As though the height of corporate fuckery is uniforms, vacuous repetitive tasks, depriving you of a view, and subjecting you to the absurd, arbitrary whims of middle managers.
Quite frankly, that’s just a random Monday.
Comedy Central’s Corporate (2018-2020) is much more accurate---it taps into the sense that, in exchange for a steady paycheck, you buy into an enormous churning machine that grinds you down even as it takes huge bites out of the rest of the world. You can do nothing to stop this machine, just hope that you wring some sense of meaning from it before it swallows you whole. Or even Apple’s Severance---which is about what someone else, someone you don’t know and will never know, agreed to on your behalf. There is no escaping from it or winning at it, no matter how many squeeze-balls or cozies they offer you. (What would “winning” even look like? You can’t even formulate an answer to that question, when your whole life is labyrinthine corridors and inexplicable mythology about the company’s founder.)
But really, I think of Mark Fisher’s Capitalist Realism---the idea that what we want, desperately, is someone to step up and take responsibility. Someone we can point to, blame, and till under with the new corn, etc. etc. But the center cannot hold and there is no falconer, there is no one. We orbit a gaping maw and it just won’t shut its jaws, let us go, and even if we murder the people shoving us towards the teeth it won’t help.
It’s not about company-mandated “flare.” Jennifer Aniston can pick another restaurant with a less prickish boss, of course she can---but she won’t escape. Neither will her manager. Neither will her manager’s manager, or the cattlefarmer, or the workers slaving to pick tomatoes, the workers at the factory that manufactures the buns, or the copywriting intern who gets coffee for the asshole who writes a flimsy knockoff of WHERE’S THE BEEF. The maw is hungry forever, it will demand to be sated forever, it will never die. There is no escape.
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