i apologise if i'm posting this much about the DLC but i am very excited
so theory time! this time about Glamrock Bonnie!
someone found Glamrock Bonnie in bonnie bowl and someonw else got his pieces from the gamefiles and stuck the model back together
(the images are not mine, i have no idea who even psoted them ebcause they've been reposted a crapload of times, but i know the originals came from twitter)
i feel a bit sad than logically he was there the whole time during the main game as well and we simply couldn't see him
but also:
He has claw marks on his chest, which i think pretty much confirms that monty is the one that broke him apart.
however.
that's not nearly enough damage to decommission a glamrock animatronic, as we have seen.
hell monty looks like this in the dlc and he is still kicking (probably by the power of god tho)
and i remember seeing THIS video some time ago, so let me bring you something a bit painful:
most people i've seen pinpoin monty's actions toward bonnie as envy and resentment, however in monty golfs whenever we see character cutouts or holograms Freddy is the one in the shadows, always. wouldn't have made it more sense for monty to try and attack someone he quite clearly disliked instead of bonnie? we know freddy and bonnie were close, so with some stretch you could even say monty was jealous of freddy's relationship with bonnie (but i'm not going to account that here)
If the theory from that video is true and bonnie was the first and only trial test of the grlitchtrap virus on a full glamrock animatronic, what if monty noticed? what if monty saw that bonnie was acting weird, and when confronted him realized something was severely wong for a reason or another?
and either to prevent the spread of the virus, OR simply out of self preservation he was forced to fight with bonnie? because if the mimic were to see someone noticed him, he'd likely try and make them disappear in one way or another
so my theory-timeline is: Bonnie was infected, started acting weird, wandered around and ultimately ended in monty golf, monty saw him and went to him, then noticed something was wrong, bonnie attacked him to make sure nobody knew, and monty had to defend himself.
i'm fairly sure this is at least somewhat correct because Monty's claws can do some serious damage, and definitely more than what Bonnie's torso and head show.
(edit: yes even without upgrade, Monty still has very big and sharp claws, realistically they could totally do that amount of damage, + in the original draft of the game, from Monty you were supposed to take his legs, and the claw upgrade was not a thing at all, yet it was always hinted he did caused bonnie's decommission)
all of this to say that bonnie more likely was decommissioned not because of the damage, but rather because because when technicians tried to fix him they noticed something had infected him, and to prevent any further spreading they were forced to deactivate him.
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ok you know what i need more bodysharing/brain roommates. malevolent got me feeling some kind of way and I need MORE. tvtropes has like 15 different categories that are all sort-of-but-not-really under the umbrella of what I'm looking for, and sorting through all of that is a little too unwieldy, so I'm turning to you guys.
key factors of the specific flavor of "multiple consciousnesses stuck in the same meat suit" that I'm looking for are:
any variation of, a human (or this universe's equivalent [so like, an elf where elves are commonplace would count]) has another, nonhuman consciousness attached to them and only them in such a way that the two can communicate, and subsequently
they Banter Constantly
^that^ is probably the most important qualifier here tbh
second most important qualifier is that they are not separated at the end (this obv. doesn't apply if the thing is still ongoing). it's okay if the passenger gets a new body (cf. subnautica) or is freed from their binding (cf. baldur's gate), as long as the partnership isn't broken.
Related: they don't actually have to SHARE a body (so enchanted objects, an AI implant, a Mysterious Disembodied Voice, an imaginary friend, etc., also count). they just have to be tethered to each other such that the passenger cannot move around or function on their own without a host. (I think this is part of why it's hard to narrow down on tvtropes: it's more about the dynamic than about the specific mechanism of "possession".)
Third most important qualifier is that only the current host can hear/communicate with the passenger, even if other people around them are aware of the passenger's existence.
two humans stuck in the same body is okay as long as the other criteria are met, but I would prefer it if the host is human(/equivalent) and the passenger is not (or vice versa if the passenger/possessor is the one with control of the body, as with things like the yeerks, most demonic possession, etc).
it doesn't have to be romantic. they don't even have to like each other. conversely, it absolutely can be romantic too.
They DO have to be the POV character/s for a significant majority (like, at least 60-75%) of the work, because the internal back-and-forth is the entire point.
Bonus points if: they do actually share a body; they are either never physically separated either, or are rejoined at the end (voluntarily or otherwise); passenger has lots of setting-relevant knowledge/an alien or fantastical perspective, while host shows passenger what it's like to be Alive™; despite constantly butting heads, host and passenger work patently better as a team; super extra bonus points for all of the above
My favorite examples of what I am looking for:
Malevolent podcast (super extra bonus points x10000000000000000)
Venom movies (this is probably the codifier for most people here tbh) (super extra bonus points)
Subnautica: Below Zero (AL-AN gets their own body but stays with Robin, and it hits all of the others)
Forspoken (super extra bonus points)
the "a bagel. two bagels." vine
(I know there's a couple others that I'm just blanking on. If I remember them, I'll add them.)
other things that have moments or flavors of this, but aren't focused on it/don't quite hit all of them:
the Bartimaeus trilogy had it at the end a little, but, well. it didn't last very long. (i STILL haven't recovered from that ending and i was, what? 15 or something? g o d)
the emperor in bg3 kiiiinda counts since they're magically bound to the player/party and can't exist outside their prison, but they do have their own body and are not nearly as chatty as I'm looking for. also, while only the holders of the prism can hear them, All of the holders of the prism can hear them and I'd really prefer one-on-one.
I think Death Note would also count? I read it in like 6th grade and never finished it so my memory is patchy At Best, but since nobody else can interact with Ryuk, he's bound to whoever holds the notebook, and he's the supplier of the holder's powers, it's close enough that I would accept something similar.
Slay the Princess has the bickering in spades and fulfills the "do not separate" criterion depending on your ending, although the jury's out on whether the voices are Actually their own entities or just symptoms of you losing it. Also, nobody in it is human. The bickering is definitely good enough to make up for it though. (The fact that it's Jonny Sims clearly having a grand old time might have something to do with it...)
with the caveat that I have not watched any of it, i think jadzia (and?) dax from ds9 miiight count, but they're part of an ensemble cast and thus fail the "pov characters for a majority of the work" and "we get to hear their constant internal banter" criteria.
things I tried that fit at least some criteria, but didn't like for various reasons:
the good demon by jimmy cajoleas. promising concept, but 1) the protagonist smokes, which is an instant and unnegotiable dealbreaker (seriously, who makes their protagonist do that in The Year Of Our Lord Anything Later Than 1950?? and to a child? DEATH. ONE MILLION YEARS DUNGEON.), and 2) I looked it up and they separate at the end anyways, so there's even LESS of a point.
the venom comics. honestly I just... really dislike superhero comics, there's always way too many of them to keep track of + I'm very shallow and they're usually unbearably ugly to me (and also having started with the movies I just found comics!eddie really unpleasant tbh)
parasyte manga. perfect concept, great dynamic, but its particular brand of body horror was... not great for me and I had to put it down. (horror in and of itself isn't a dealbreaker, though, so if you've got something similar that doesn't involve lots of hands bent at nauseating angles, I'll gladly take it.)
Cyberpunk 77 has the two-humans flavor of this and hits almost all of the other criteria, but i viscerally hated literally everything about j*hnny s*lverhand with every fiber of my being and the rest of the game was so mediocre already that i just gave up
....I know it's a highly specific/potentially niche dynamic, but if anyone has any recs, PUHLEEASE hmu!!! I'm looking for original work rather than fanfiction, but apart from that, format doesn't matter at all (although if it's some like super difficult indie game or something, I probably won't get very far lol). the MAIN points are 1) bickering and 2) host-and-passenger, so if you have something that hits those but not the others, feel free to share it anyway!
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Fig's line "I don't think I'm an artist, I think I'm just a good friend" has not left my head at all. Just...
You're Fig Faeth and your horns came in over the summer and you pick up the bard class as a form of adolescent rock 'n' roll rebellion, and it works! It's exactly the outlet you need! You give a guy you just met drumsticks and you start a band and it's good enough that within a year and a half you're touring. You are, in every sense, good at being a bard.
And then, finally, your junior year, you start to take it seriously. Your art goes from an outlet and a form of rebellion to a practice. A discipline. (Can rebellion exist within a discipline?) Your classmates know what they want to do with their work. They all have a thesis statement. And yeah, there's cohesion in the music you make, but you've never had to think about why you make it. You've never sat down and dissected what it is about bass that speaks to you. You've never poured over your lyrics to pick at any deeper meaning. Why should you? You don't play music for a grand design, you do it to... huh, why do you do it?
(Your art is the one form of self-expression that feels as safe as Disguise Self does, because even if you're pouring your heart onto the page and then screaming it in front of thousands of people, it's not like you're really making yourself known. You can sing I'm lonely, I'm scared, I'm furious, and your fans will sing it right back, and there will still be the distance between performer and audience to keep your heart safe.)
Now you're being asked to look inward to explain the artistic choices you're making, and you can't help but recoil at that, because you'd rather do anything than look inward. Meanwhile, your classmates have no problem with it, so you start to wonder if you're a real artist at all. Can your art be authentic if it only exists to bolster a thesis statement? Has your art been unauthentic this whole time because you've never really thought about a thesis statement before? Is that what makes it art, and not just the next track on somebody's teen angst playlist?
You can't think about yourself— acknowledging your own existence makes you want to puke. So if your music is an extension of yourself, (and it is, even if it's just because the spotlight reveals only what you want it to,) you can't think about your music. You can't. You have to. Your grade depends on it.
You're Fig Faeth, and you keep multiclassing because you'd rather be a good friend than a great artist. If introspection is what great art demands, then fuck it. You must not be a bard at all.
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