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paintaboveyourbones · 2 days

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That time Marius had a prolonged depressive anxiety attack and changed a 12 year old also this is a pro-Marius blog

Thinking about that time, Armand suddenly showed up from the dead to visit Lestat when he was embracing his ✨ religious stupor aesthetic ✨ , and Marius proceeded to embarrass himself by following Armand around and inviting him back to his place to chill or whatever THREE GODDAMN TIMES IN A ROW and got shot down for all of them! Amazing!

Marius : Wanna come over? Armand : Lol no :)

it gets worse

Hahah like wanna come back to my place? No? Oh that’s cool. Listen my house is so cool here it’s all Roman and stuff, you’d love it if you saw it? Oh? You don’t want to see it right now? Oh, uh uh. Um, what if like, I promise to be a good listener and not interrupt? You could, you could stay for as long as you like! He's such a simp

And Armand is literally looking at his raggedy dusty clothes and kinda gives him a little pat on the hand and gives him his best “oh yeah, I’ll be by later! Totally!” And in the very next sentence, he’s thinking, “I gotta grab my kids and get the fuck out."

You think I'm exaggerating - how I only wish that were the case! It's so painful to see him suffer.

But beyond pain, the thing that I love about this is how much of a shock this is to both of them. Anne gives us all these excellent context clues that show us MARIUS HAS NOT BEEN OK! ALRIGHT - HE'S GOING THROUGH IT. Like, in my head, he's still trying to process what happened with Akasha - and part of that will inevitably go back to his own failure with Armand. And that failure is multifaceted and painful for him because he's been the cause of so much of it.

Obviously, there's all the stuff with Armand that directly echoes his failures with Pandora. I'm thinking specifically of him flying into a rage just because she mentions she saw the apostle Paul out preaching, and of course, there are the beginnings of the Roman coven. And then Christianity deals the death blow again when Armand falls into the cult. He has a proper pagan disdain for it, and I don't want to minimize the validity of his fear surrounding it and how religious trauma of all varieties has had a hand in shaping his neurosis.

Marius has always been so proud of his reason, but he's drawn again and again to these people who are more spiritual or untamed than he is. And part of this is his wanting to emotionally and intellectually dominate them. He wants so BADLY for someone to go, "Yes, Marius, you're right! Your superior Roman reason has shown me the way!". Because then he's validated as the superior Roman scholar for once, and not some half-breed Barbarian adopted into a proper Roman family by his father. But I can't help but think the other part is he's so attracted to their complete sense of comfort and acceptance of these illogical parts of themselves.

Like Pandora, Mael, and Armand are all so spiritual. And I know I've made the joke about him being the Reddit Atheist Guy falling for the Coexist bumper sticker girlies, but it's true! I'm not saying that any of them don't struggle with their faith or delight all the time in the sacrifices it asks of them, but they never question it as a part of themselves. And that's the thing - faith IS illogical. It requires us to take leaps we can't explain and carry on when there's no proof of reward or empirical evidence to give us peace of mind. And the fact that all three of them are ok with this just drives him FUCKING BUG NUTS. I also can't help but think some of this goes back to his Mommy Issues and how he works so hard to scrub his mother's barbarian identity from himself

And all that is there in Armand! And whatever might have happened is a wash, because obviously the coven comes and breaks them apart. But the funny thing is AKASHA also has a hand in it. At the time, Marius accepts it for what it was. But, in retrospect, after everything that happened? How fucking bitter is that pill to swallow that Armand became one of the things he had to give up, and all he got was a mouth full of ashes in reward.

And it's so clear they're both so hurt and awkward around one another! When we see them in Night Island, it's Santino Armand’s playing chess with - not Marius. It's no wonder that, of the two, he's the easier bridge to mend.

I can't help but think that, before Armand burned himself in the sun, Marius had convinced himself that he was still perfectly in control and ready to face what came next with stocism and rationality. Then Armand gets crisped up, and that's finally the catalyst for things to break apart.

It reminds me of this thing I was listening to recently about a pet bereavement therapist who mentioned that almost inevitably, when people talk about pet death, they talk about the death of a loved one that also hasn't been mourned or processed. And Marius does treat Armand like a pet - and Armand's death is the damn break for everything else that's happened with Akasha. Hence, we get Marius wearing rags, covered in dust, turning Benji and Sybelle. He's so painfully out of control - he's spiraling and returning to his old pattern of leaning on Armand and putting him back in that place where he's responsible for Marius' emotional well-being again. Only this time, he's not a fucking child (even though Marius greets him by calling him 'young one").

This entire time, he's softly rebuffing Marius, refusing to do the heavy lifting for him, he's finding his footing! My heart is beaming with pride because he's finally putting the pieces together! He's not Marius' emotional support pet anymore!

Hence why I think we get this line :

There's always this scary part when you're getting out of codependency where you realize the possibility of going back to old habits is always there. And that's tempting! Focusing on healing doesn't mean these things stop being temping - it just means you find better ways to work around that temptation.

And, of course, this just does not compute for Marius. And to be fair, that makes sense - historically Armand has always wanted to be a slave for something or someone. So seeing him come back from the fire, changed and changing, even if it's just shakey baby steps, has to be so devastating. Because, at this point, it's one more person outgrowing and changing beyond him. And everything that he's held onto at this point to justify his lack of change and growth has just been burnt to the ground.

So I can't help but wonder if his turning Benji and Sybelle is a desperation grab to try and re-establish the order of things because he's genuinely terrified that Armand might actually try and off himself again. He's gotten a glimpse of what a world without him looks like and he's not doing well in it. And hey - back when he was thinking of ending it all, didn't Akasha trick him into making Pandora? Hasn't Pandora been his anchor? What if he gave Armand an anchor. No need to go into wither or not Armand wants it or actually needs it. And all the better if their turning reinforces his own new belief in nothing. After all, this was the man who once imagined that he stood apart and above humanity like some loving patrician figure, but now everything he's dedicated himself to is gone. And rather admit he's having a depressive episode, it's so much easier to put the world to blame and say he's rescuing them from it.

He needs Armand - and whatever that means - if it means need like a little dog in an emotional support vest kinda need or if its I'm ready to build a human connection and need you romantically/paternally kind of need - Marius is not ready to have that conversation. So, instead, he puts his emotions into reverse and floods the engine backward in an attempt to put things back into a pattern he can recognize.

This is where it gets so painful to watch because he's at a point where just admitting he needs help, that it feels good to have someone else to rely on, would be so good for him! He doesn't need to fear change, and people evolving around him is a good thing. But he can't see it like that. So now we have this mess, only it backfires because Armand still grabs the kids and leaves. Just because trapping himself in old patterns fits Marius doesn't mean that others' needs have to regress to shape to his own. Once again, it's Marius who knows best, Marius' selfishness, his complete lack of self-awareness, getting in his way.

My man is his own greatest enemy.

#marius is a fucking mess and i love him #this is a pro marius blog btw #marius de romanus #the vampire armand #armand le russe #marimand #tvc reread #vc meta

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queenoffishingandcookies · 23 days

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With Literally No Context:

Noctis:

Prompto:

Luna:

Prompto, in the tune of Hard Knock Life: It's a 'hard Noct' life for us ~

Luna:

Luna: :)

Noctis: ...oh no. I'm in danger.

Noctis: I'm perfectly happy with this.

#noctis lucis caelum #prompto argentum #lunafreya nox fleuret #this has no context because I can't give you any #hard knock life popped into my head and then I was thinking how it sounded similar #and then I remembered the trophy 'Noct you round like a hurricane'#and this was born #does this count as shitposting???#promptis #lunoctprom #ffxv

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bitchthefuck1 · 4 months

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We as a society need to acknowledge the psychological toll of being the only woman in a friend group willing to argue back when the guys start saying sexist shit. I deserve financial compensation.

#I'm out here in the trenches with zero backup and the only prize i get is a text from a girlfriend after the fact saying i was right but she #didn't have the energy to argue it #someone give me a fucking medal #like in any other context I'd straight up stop hanging out with these people but i can't for Reasons so instead every few months i have to #undergo psychological terrorism over a group meal #it has actually been such a good demonstration of how men will prioritize patriarchal alliance over anything else bc this is a group of #people ive known for years and that i see weekly and the way they will throw me under the fucking bus to agree with a random guy someone #invited that none of them actually know is genuinely insane. good to know exactly how little you value me as an individual 👍#actually tho I can't describe to you how fucking depressing it is to watch a male friend say something lightly misogynistic and then when #you provide the slightest bit of pushback they just all start to join in and double down and then because none of your other female friends #are willing to speak out they start to get more emboldened and the situation spirals a bit and you're literally standing there getting #dogged on as you're forced to confront the fact that on a fundamental level they dont see you as a real person

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keeps-ache · 2 years

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similarly forgotten, nothing's the same

#art #my art #digital art #artists on tumblr #oc #blue space #man i love making pieces that literally nobody is going to properly understand because i don't give context!!#shye and captain are kind of comforting to draw though i dunno why #also: shading my beloathed #not really a click and zoom piece but i put some details into the hair in the photo and i. don't know why #you can't the the fly-aways kashdcksh why #i should probably stick to just one way of shading hair #....#nah #experimenting has to be most fun part of using digital #aside from using any and all colours #even though i don't knwo if i'm using them right lollll #also was gonna put actual text on the tablet but i love myself too much to subject myself to having to use mesh transform #[baaaaaaaaaaaaaarf]#anywho yeh #all done here back to that wip i keep giving the shifty-eyes

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solsays · 7 months

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Lifers x Crane Wives

I saw someone comment on a life series TikTok or something to try and pair all of the lifers to a crane wives song, without repeating songs. so obviously I spent an hour doing it

Grian—Tongues & Teeth (self explanatory if you’ve EVER heard this song)

Scar—Steady, Steady (this whole song is about how their partner is walking out but they still want to be “wild and free” which is just SO Scar coded)

Tango—Ancient History (he keeps teaming up with Skizz and I feel like this song vibes with that, it also just feels very Tango)

Skizz—Icarus (this man always gives himself up for his teammates I swear, and he fuels them to keep going. It also says “oh brother, brother” which feels like Skizz talking to any of his teammates to me)

Impulse—Allies or Enemies (Impulse has been very iffy on a lot of his alliances throughout the seasons, especially in third life and with the amount of playing all sides that man has done this songs feels right)

Cleo—The Glacier House (this. this is literally just her leaving Fairy Fort. The song is talking to/about her from probably Lizzie’s perspective, but like the last line is 100% as if Cleo was speaking)

Bdubs—Unraveling (Bdubs relies so heavily on his teammates, and when he doesn’t have that stability *cough* Etho *cough* he just kinda doesn’t know what to do so this song fits)

Mumbo—Keep You Safe (this man is by no means an aggressive/reckless player [see: Joel or Martyn] and he feels like he’s just here for the vibes and honestly? Love that for him. This song is about fear not keeping you safe and watching your friends run high risks, which just is very accurate to how Mumbo plays this series. I also feel like he could fit Rockslide when he goes red cause he goes from standstill to “drop dead sprint” in terms of aggression)

Lizzie—Shallow River/New Colors (Lizzie is the only one I put as two because both of these songs are just so fitting. Shallow river—“wasted all for the title, wasted all for the crown” reminds me of Lizzie trying to kill Scott and ending up dying herself instead. I also feel like parts of it could be dead Lizzie talking to Joel, the only person who is really mourning her. New Colors—“don't tell me that I can't, I need this“ and “I give up my air, to breathe” also feel very accurate with how she is trying so hard and just keeps failing )

Jimmy—Canary in a Coal Mine (no further context needed, we all know Timmy)

Scott—Little Soldiers (this is very flower husbands, but also just feels like Scott looking back on the last seasons including Pearl, Jimmy, Martyn, all his reluctant exes. Also this man is the watchers’ like least favorite person ever and this gives that vibe)

Pearl—Ribs (i changed this from New Discovery because Ribs is entirely about somewhat angrily protecting and helping yourself because nobody else would, and it really strikes me as Pearl with the some things having been good (Gaslight Gatekeep Girlboss) and some being bad (divorce quartet))

BigB—Not the Ghost (this man is so incredibly odd, he just constantly feels like he is being haunted by the watchers and just going about his life, he is the human personification of gaslight and we love that for him)

Martyn—The Hand That Feeds (he HATES the watchers with every ounce of his being, and with Ren gone I think this guy’s only purpose is just to spite them)

Joel—Sleeping Giants (go listen to it. That’s all there is to it, it just feels very Joel-ish, this lad is absolutely fucking mental)

Ren—Once & for All (this song feels like war and being betrayed, and Ren has been betrayed so much so it just fits. I mean come on “my blood’s forever on your hands” tell me that isn’t 100% something Ren would say)

Gem—Show Your Fangs (Girlboss moment, we love Geminislay. This woman is not someone to be underestimated and this song very clearly says that so it’s very Gem in my head. She doesn’t have enough lore yet to make it angsty but ONE DAY)

Etho—Never Love An Anchor (I can’t explain it, this song just has Etho vibes. I mean “It’s a secret I keep tucked inside my chest” just seems very him, I can’t really tell you why)

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wileycap · 3 months

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So, uh, Netflix Avatar, huh? Yeah. I guess I'll make a really long post about it because ATLA brainrot has is a cornerstone of my personality at this point.

So.

It's okay. B, maybe a C+.

That's it.

Now for the spoilers:

The biggest issue with the Netflix version is the pacing. Scenes come out of nowhere and many of the episodes are disjointed. Example: Aang escaping from Zuko's ship. We see him getting the key and going "aha!", and in the next scene he's in Zuko's room. And then he just runs out, no fun acrobatics or fights, and immediately they go to the Southern Air Temple where he sees Gyatso's corpse, goes into the Avatar state, and then sees Gyatso being really cheesy, comes out of it, and resolves that conflict. Nothing seems to lead into anything. The characters don't get to breathe.

The show's worst mistake (aside from Iroh fucking murdering Zhao) is its' first one: they start in the past. Instead of immediately introducing us to our main characters and dropping us into a world where we have a perfect dynamic where Aang doesn't know the current state of the world and Katara and Sokka don't know about the past, thus allowing for seamless and organic worldbuilding and exposition, they just... tell us. "Hey, this is what happened, ok, time for Aang!" There's no mystery, no intrigue, just a stream of information being shoved down the audience's throats and then onto the next set piece.

The visuals are for the most part great, but like with most Netflix productions, they just don't have great art direction. It feels like a video game cinematic, where everything is meant to be Maximum Cool - and none of the environments get to breathe. It's like they have tight indoor sets (with some great set design) and then they have a bunch of trailer shots. It's oozing with a kind of very superficial love.

Netflix still doesn't know how to do lighting, and with how disjointed the scenes are, the locations end up feeling like a parade of sets rather than actual cities or forests or temples. As for the costumes, Netflix still doesn't know how to do costumes that look like they're meant to be actually worn, so many of the characters seem weirdly uncomfortable, like they're afraid of creasing their pristine costumes.

The acting is decent to good, for the most part. I can't tell if the weaker moments come down to the actors or the direction and editing, but if I had to guess, I'd say the latter. Iroh and Katara are the weakest, Sokka is the most consistent, Zuko hits the mark most of the time, and Aang is okay. I liked Suki (though... she was weirdly horny? Like?) but Yue just fell kind of flat.

The tight fight choreography of the original is replaced with a bunch of spinny moves and Marvel fighting, though there are some moments of good choreography, like the Agni Kai between Ozai and Zuko (there's a million things I could say about how bad it was thematically, but this post is overly long already.) There's an actually hilarious moment in the first episode when Zuko is shooting down Aang, and he does jazz hands to charge up his attack.

Then there's the characters. Everybody feels very static - Zuko especially gets to have very little agency. A great example of that is the scene in which Iroh tells Lieutenant Jee the story of Zuko's scar.

In the original, it's a very intimate affair, and he doesn't lead the crew into any conclusions. Here, Iroh straight up tells the crew "you are the 41st, he saved your lives" and then the crew shows Zuko some love. A nice moment, but it feels unearned, when contrasted with the perfection of The Storm. In The Storm, Zuko's words and actions directly contradict each other, and Iroh's story gives the crew (and the audience) context as to why, which makes Zuko a compelling character. We get to piece it out along with them. Here - Iroh just flat out says it. He just says it, multiple times, to hammer in the point that hey, Zuko is Good Actually.

And then there's Iroh. You remember the kindly but powerful man who you can see gently nudging Zuko to his own conclusions? No, he's a pretty insecure dude who just tells Zuko that his daddy doesn't love him a lot and then he kills Zhao. Yeah. Iroh just plain kills Zhao dead. Why?

Iroh's characterization also makes Zuko come off as dumb - not just clueless and deluded, no, actually stupid. He constantly gets told that Iroh loves him and his dad doesn't, and he doesn't have any good answers for that, so he just... keeps on keeping on, I guess? This version of Zuko isn't conflicted and willfully ignorant like the OG, he's just... kind of stupid. He's not very compelling.

In the original, Zuko is well aware of Azula's status as the golden child. It motivates him - he twists it around to mean that he, through constant struggle, can become even stronger than her, than anyone. Here, Zhao tells him that "no, ur dad likes her better tee hee" and it's presented as some kind of a revelation. And then Iroh kills Zhao. I'm sorry I keep bringing that up, but it's just such an unforgiveable thematic fuckup that I have to. In the original, Zhao falls victim to his hubris, and Zuko gets to demonstrate his underlying compassion and nobility when he offers his hand to Zhao. Then we get some ambiguity in Zhao: does he refuse Zuko's hand because of his pride, or is it his final honorable action to not drag Zuko down with him? A mix of both? It's a great ending to his character. Here, he tries to backstab Zuko and then Iroh, who just sort of stood off to the side for five minutes, goes "oh well, it's murderin' time :)"

They mess with the worldbuilding in ways that didn't really need to be messed with. The Ice Moon "brings the spirit world and the mortal world closer together"? Give me a break. That's something you made up, as opposed to the millenia of cultural relevance that the Solstice has. That's bad, guys. You replaced something real with something you just hastily made up. There's a lot of that. We DID NOT need any backstory for Koh, for one. And Katara and Sokka certainly didn't need to be captured by Koh. I could go on and on, but again, this post is already way too long.

It's, um, very disappointing. A lot of telling and not very much showing, and I feel like all of the characters just... sort of end up in the same place they started out in. I feel like we don't see any of the characters grow: they're just told over and over again how they need to grow and what they need to do.

To sum it up: Netflix Avatar is a mile wide, but an inch deep.

#avatar the last airbender #atla #atla spoilers #avatar netflix #netflix avatar #atla live action #netflix atla #zuko #iroh #katara #aang #sokka #zhao #ozai #review

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the-case-book-of-fanfiction · 4 months

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astarion ancunin hcs {pt. 1}

once he's comfortable with you, he adores non-sexual physical intimacy

playing with his hair will calm him down almost instantly

he's protective and possessive, so he'll keep a hand on you at all times, usually on your back

loves when you initiate any kind of physical contact

always asks to do something before he does, in either a sexual or nonsexual context

he's easily jealous and can sometimes get very possessive; for the first time in 200 years, he has someone who genuinely loves him and he hates the possibility that he might lose you

that possessiveness is obvious when he marks up your neck with bites and hickeys

if he feels like his place in your relationship is threatened in public, he will not hesitate to touch, hold, or kiss you in front of whomever is making a move on you; after some bearing of fangs, whoever it is usually scuttles off very quickly

he definitely feels very undeserving of you and your love and has his days when he's convinced you're going to leave him for someone better when you get the chance, or that he's keeping you from; that insecurity lasts for a very long time

constantly buries his own feelings, so you have to coax them out of him and teach him how to set boundaries and stand up for himself

astarion absolutely LOVES bathing together; he can be very vulnerable with you without sex being expected when you bathe together and it absolutely helps him regain some control and bodily autonomy

he loves gifting you things: jewelry, clothes, weapons, little knickknacks he sees that remind him of you

his elven ears are so sensitive and he absolutely will whine involuntarily when you brush your fingers over them (either on accident while you're touching his curls or on purpose)

speaking of which, astarion loves having his hair played with, it's a huge comfort to him (and another form of physical touch that isn't inherently sexual, so it's one of the ways to ease him back into being intimate and physical)

sexually, he's very switchy; some days he wants to be in control and giving you all the pleasure you deserve, but other days he's more than happy to let you take the lead and love on him

he loves staying up late to have deep talks and watch the sky (sun or moon and stars, it doesn't matter which to him)

cuddle this man. all the time. he's absolutely a cuddle bug. if you don't cuddle him while you go to sleep, he'll be very huffy, and you'll wake up to him curled up around you anyway

he also likes to be the little spoon sometimes, once he's comfortable with you seeing and being wrapped around his back

he will sew everything for you instead of teaching you to do it; he likes being useful in some little way for you (inspired by @aethes-bookshelf's post here because I saw it and went "you are absolutely right")

he commonly speaks to you in Elvish whether you understand it or not; it's absolutely a comfort to him, especially when you start picking up words and understanding some of what he says

contrary to the performances he puts on, astarion is a very gentle lover when he can finally be comfortable and genuine with you. he's quieter, softer, he takes the time to learn you and himself, he lets himself enjoy it; he learns to become a taker, not just a giver

he likes to hold you, however he can, and at the very least always be touching you. an arm around your waist or shoulders, a hand on the small of your back, holding your hand or twining your pinkies together. he can't be touching you, he's standing so close to you that he could be touching you if he moved a centimeter more

he likes to hug you randomly; one of his favorite ways to do it is to come up behind you while you're cooking or talking to someone or looking at yourself in the mirror to get ready so he can surprise you by putting his arms around your waist and resting his head on your shoulder

astarion has a habit of kissing your neck whenever he can, sometimes it's a way to let you know he's hungry, other times when he wants to be intimate, other times just to remind you he loves you

on the same hand, he doesn't always say 'i love you' but instead makes it known through his behavior around you (and the fact that he's constantly looking at you like you are his whole world, because you are)

on the nights when you can't sleep, he reads to you until you drift off because he knows you find his voice soothing

he likes tucking his head into your neck and shoulder when the two of you sleep (which he finds out he actually likes doing every now and then)

the first thing astarion does when he wakes up is pepper you with little kisses on your shoulders, collarbones, cheeks, and forehead

when he's nervous and with people he's okay with knowing that, he'll reach for your hand and touch your fingers to calm down and ground himself. if you wear a ring or multiple rings, he'll play with those

astarion loves it when you call him by a nickname, either a shortened version of his name or a pet name. if he's fed recently and had enough blood, his cheeks will turn this adorable shade of pink when you call him "Star" or "my love" or something similar

how he wakes up from a nightmare changes constantly. the worse the nightmare, the worse his reaction when he wakes up. sometimes it's just a little gasp and his eyes flying open, sometimes it's a yelp and tears, sometimes he's crying before he even wakes up; but every time, his biggest comfort is to cling to you until the panic fades and then curl up in your lap (you've learned to light a candle or summon lights with magic when he wakes up from a nightmare; the shadows make him feel worse)

when you fall asleep outside of bed, he picks you up and carries you to bed and tucks you in—all without waking you

if you are injured at any point and there is no certainty that you'll pull through, he panics. he stays at your side the entire time, even if the smell of your blood is driving him mad, and holds your hand and talks to you, often begging you to wake up, to come back to him, to stay with him; more than once, you've woken up to find him with tears streaked down his face

every time you wake up from an injury and he realizes it, either because he's watching you or because you say hi to get his attention, he smothers you in kisses

once he's no longer starving, he likes to feed from you very slowly, to take his time and enjoy your taste; now that he's promised food, he doesn't feel the need to rush. feeding becomes very sensual, intimate, and personal for the two of you after that

he also loves leaving bites and drinking from you in places the others won't see; it makes him incredibly giddy to know that you let him bite you in places only he will ever see

if he's taller than you, he loves to kiss the crown of your head whenever he can

he will sew up your injuries whenever you need his help with it, even if the sight and smell of your blood makes him salivate

he loves touching your body to see how you react and lets you do the same to learn his own likes and dislikes

matching. outfits. he loves it, loves seeing people realize that you wear the same material and colors and realize what it means. he's very smug when people come to the realization that you're together

he frequently gives you his shirts to sleep in

if you are apart from him for any amount of time, expect to be tackled with a hug the minute you are reunited again

when you have the time, he likes to just lay in bed with you and relax together, half-asleep and cuddling and sometimes mumbling to each other pt. 2 coming soon

#baldur's gate 3 #astarion #baldur's gate astarion #astarion headcanons #astarion x tav #astarion x reader #astarion x you #fluff #angst #astarion fluff #astarion angst #neil newbon #astarion neil newbon #astarion hcs #case's headcanons #astarion ancunin

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littlelightfish · 1 month

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Holm nation... I have a heartbreaking announcement to make.

We didn't get to see this panels animated.

(I wanted to see Laios helping him, this one isn't the one this post is all about)

I feel it's important to his character enough that Kui decided to dedicate three panels about how he aproaches and resurrects Kabru.

He is used to resurrecting people, his party sucks at keeping themselves alive. He walks up to Kabru's corpse with a worried look on his face. Then he kneels besides him and takes a second to process what he is seeing. He is seeing a young man, Kabru, dead. It makes him feel unseasy, a bit of shock that he can't take the luxury of process at the moment. He doesn't want to look, so he closes his eyes and focuses on his spell. He is realizing he is the only one alive from his party (he doesn't know where Mick is or how he is). He is the last one standing. The reality of it all slaps him in the face.

The panel of him just... looking at the mess Kabru's corpse is was just... It was important. It talked about him as a character. "I'm not doing this because I want to, but because I have to". He doesn't has time for emotions. He has a job to do.

It's just three panels. But they provide lots of context between the ones that came before and after.

He doesn't just rubs Kabru's head because he's being afective. He does it because he cares. He does it out of relief. "As long as I'm here, any of you'll be dying soon. And I'll always be here. Don't worry." He is far from being OK after all this. Marillier died, Daya died, Kuro died, Kabru died, Rin died, Mick probably died too (but he doesn't saw it). He... By the time he was the only one standing, the fight was over, and he could alredy resurrect them. He wants to feel sad. To worry, to be concerned, to mourn. But he can't. It isn't necessary.

He is a cleric. He for sure has a notion of dead way different than anyone and feels a certain way about resurrection. "Dying is dying, even if you resurrect." It's a bug at the corner of his mind, he doesn't pay it any attention. He gets resurrected multiple times, he is gratefull he is alive. But seeing all his friends dead? And the most of them mutilated? Covered in their own blood? He has this desire to mourn. To cry the loss. To panic. "They are all dead."

He knows they'll come back. He has to make them come back. So he does. And they are alive. But they weren't a few seconds ago. And he just plays it off, he puts his calm face on as soon as there is another party member alive that could ask him what happened that it disturbed him so much. He throws all those sad feelings under the rug and focuses at the task at hand.

They're going to be ok, he just has to do his job: bring them back from death. They shouldn't even be dead. But they are. And he's going to fix it. No point on feeling sad about them dying if they can be alive soon!

I think the concern that the anime puts here it's something that could come close to what he feels inside. Those seconds are the only ones we see him looking something akin to worried for his friends.

But then...

His worry vanishes in seconds. The moment Kabru revives, he does it in such a "Kabru" way, that he tells himself: "This is fine, they're going to be back soon, nothing to worry about, I just have to hurry". He wants them all back to live. We know for sure that in his priority list there wasn't any "reviving Toshiro's party members first". He was going to make sure all his party, all his friends, were alive before even thinking of resurrecting other people if he still had the magic.

Those three panels they didn't animate are something that was there for a reason. To give depth to Holm. This last episode is definitely the one in wich he shines the most. He isn't the main character at all this episode, but he does the most important stuff on the background. He revives them all. This all lack of something if you don't show what Kuy drew on those panels.

Here he just... goes to work. He says: "lemme handle it" and he does. No concern, no worry, no, nothing. He just does. No thoughts.

It makes me sad. Those panels were important. :(

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gallusrostromegalus · 1 year

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Hello this is just to say that I am very interested in that post you mentioned maybe making about indirect communication!

So to define Direct and Indirect communication with a pair of examples real fast:

Direct communication: "Hey, can you do the dishes?" Indirect communication: "There's dishes in the sink." (Please wash them.)

Indirect communication tends to trip a lot of ND, but especially Autistic people up because the implied request in the parentheses... doesn't always come through. So you don't do the dishes, and the Indirect communicator gets frustrated because they thought they had made that request perfectly clearly.

Which, in their defense, they did! ...in their micro-cultural language.

See, the actual purpose of Indirect Communication is to provide some extra verbal personal space and non-aggression measures in micro-cultures where people's personal autonomy has been compromised but there is also a high degree of understood social context.

Hm. That's a weird sentence. Let's try some more examples.

Indirect communication is most common in places or situations where people's ability to stay in their own lane is compromised, but everyone also shares the same base knowledge of what's going on. One example is in large cities, where people are PHYSICALLY up in each other's personal space because they're physically crowded. So cities have etiquette like "Don't make eye contact on public transit unless you actually need to address someone", so that, if people can't stop violating your personal space, they can at least signal non-aggression and give you some privacy. People raised in large cities, or who have lived there for a while all learn these unspoken rules by trial and error, some of us with more errors and trials than others.

Thus, in physically compact situations, "There's dishes in the sink" means "There's dishes in the sink." (I trust that you are already familiar with the social rules that dictate that dishes need to be done, and assume the reason you haven't done them is because you haven't seen the sink yet. I won't insult your intelligence by elaborating on the Do The Dishes Rule, because I know you are smart <3)

Speaking of Privacy, the other place indirect communication is common is in situations where people have Limited Privacy and thus everyone knows what's going on with them, and they know what's going on with everyone else, whether they want to or not. Close-knit families and religious communities often have this shared no-privacy pool, but it can also happen with you and two roommates in a 100sq ft apartment, or on a research vessel in the middle of the Atlantic Ocean. Since y'all are up in each other's business, indirect communication is there to prevent hostility in close quarters.

This, in a low-privacy situation, "There's dishes in the sink." means "There's dishes in the sink." (I know you are a good and responsible roommate who is maybe a little forgetful, and I trust you to have enough context from living in the live feed of everyone's life to know that I need them done. I won't insult you by suggesting your motivation was malicious in any way, and i trust you to do them <3)

So, to an indirect communicator, that was a perfectly clear request to do the dishes because OF COURSE you'd know what they meant- literally everyone else they deal with is in on this shared knowledge of social rules and daily updates. And not elaborating on that request is an affectionate sign of trust in your competence.

Except, you know. You're not.

So, you try to explain to your indie friend that "There's dishes in the sink." only sounds like an observation, and your brain will not auto-fill in the request like theirs does, so if you want me to do the dishes, just ask with words, okay?

And your indie friend understands this! but then instead of going "Hey, can you do the dishes?" they instead don't say ANYTHING until they're really frustrated with the state of the kitchen, and communicate VERY directly at you, and with great anger.

What happened?

So remember how indirect communication exists to prevent hostility and violence? That's because the threat of hostility and violence is VERY, VERY REAL.

Like you, your indirect communication friend made some mistakes while learning The Unsaid Rules and How To Use The Shared Information Pool, and the social hammer came down on them HARD. Ostracization, ridicule, maybe even actual, psychical harm. So they grew very, very afraid of violating those secret rules, and doubly so with people they like, so your indirect communication friend is facing this HUGE EMOTIONAL BLOCK when it comes to directly communicating with you, because to someone who grew up with their boundaries compromised and the threat of hostility if they violate the communication rules, communicating directly with someone they love feels really, really, really mean and they don't want to hurt or lose you.

For real, "Hey, please do the dishes" sounds like "Hey, please do the dishes." (You fucking moron who doesn't give a shit about our home and probably hates me) to them, and they don't want to talk like that to you. It's like how we never like picking the mean dialogue option in video games.

So instead they... just don't say anything at all, rather than risk a potential confrontation, and then the dishes don't get done and it turns into a REAL confrontation.

What a headache.

So what are we gonna do?

Well, you can't control your friend's actions, emotional reactions or interpersonal skills, but you can manage yours, and you're gonna have to meet them halfway, and it's gonna feel like training a skittish cat that coming out from under the couch is safe. Several-pronged approach:

DO NOT PUNISH BEHAVIOR YOU WANT TO SEE. When your friend does manage to say "Hey, please do the dishes?" don't go "UUUUGH IN A MINUTE." even if you are in the middle of something else and their timing sucks, which is probably does. Stick to either neutral responses ("Cool, let me finish this paragraph and I'll get on that") to positive responses ("Oh, sure! Thanks for letting me know!")

REWARD THE BEHAVIOR YOU WANT TO SEE. -and then actually go do the dishes to demonstrate that this approach not only is safe, it's effective. Also, praise your friend when they do a good job communicating with you. "Hey, thanks for actually asking me to do the dishes, that was really helpful." or "You're doing a great job navigating and giving me directions, this is much less stressful than the GPS" or "Thanks for being honest about how I was annoying you and bringing it up before it became a huge issue." This will kind of feel like you're an actor on sesame street teaching big bird how to say please and thank you, but honestly? that was the age most of us learned our communication skills, and we return to that teaching method because BY GOD IT WORKS.

MODEL THE BEHAVIORS YOU WANT TO SEE. Humans learn by copying, so lead by example with the kind of communication that helps you, and explain why it helps. "Hey friend, a question so I can schedule some stuff- Do you have any plans this weekend I should know about, or am I clear to paint the bathroom?"

This is the one that sucks but YOU GOTTA MEET THEM HALFWAY AND LEARN ABOUT THE CONTEXT POOL. Can't make everyone learn, and Indirect communication has it's uses (especially in modern jobs and social media), so you gotta learn their style too. I literally have a discord server that's just me where I keep notes on the life events and conditions of my friends, coworkers, neighbors and loved ones because I know I won't remember that shit, but they will kind of expect me to, and it's been a lifesaver in both not blundering into social faux pas, and actually getting around my crap memory to know them better. You can also model hybrid communication and practice your indirect skills by using an indirect request opener, but then saying the rest of the implied context aloud: "Hey, there's dishes in the sink. I know you'll do that ASAP because you're cool, I just wanted to make sure you knew they were there and needed to be washed, thanks <3"

Accept that some people aren't gonna change for reasons that are beyond their control and probably have nothing to do with you, and decide what you're willing to invest in learning to deal with them. I still have to play 5D words chess with my mother-in-law, who was raised in a close-physical-space-AND-no-privacy culture and is an excruciatingly anxious indirect communicator as a result. I can't make her go to therapy for the anxiety, and until she does, her ability to communicate effectively probably won't improve. It's got nothing to do with me, even if I'm the person she's most frequently at odds with. As a result, I have extremely limited contact with her. I don't see her for more than a few hours at a time, when we have an activity to do together, and only a handful of times a year. More than that, and I get brainworms by proxy, so for my sanity, I've limited what I am willing to do with her. Maybe your indirect communicator is someone worth effectively learning a second language for, like a lover. Maybe they're someone you can cut out of your life entirely without issue, like a manger at a retail job you can quit. You'll have to decide.

Anyway, that's my raised-bilingual ADHD/Autism Direct/indirect communicator ramble, hope it helps.

#Long post #communication skills #Note: I'm not a therapist #I just live this experience #so take this with a handful of salt #but this has worked for me

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pippin-katz · 9 months

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Alex & Being Bisexual 🩷💜💙

I've seen a lot of people complaining about Alex not having as big of a crisis over being bisexual as he did in the books, but I feel like a lot of people are overlooking the development he does go through.

Henry is the first guy he has felt attracted to that he actually knew prior to getting physically involved.

Alex & Miguel

Nora's asks specifically about men Alex has "been with", not men he's liked or interested him. She means physically, and he knows that too. Alex doesn't even bother with giving any context or details for his high school hook up. His description of his hook up with Miguel is straightforward, direct, and factual, because he doesn't have an emotional attachment to that moment or Miguel.

This, and his interactions with Miguel, gives the impression that they don't really know each other that well. It seems like they met during the campaign, made out in a hot tub, and now occasionally they talk at school.

They don't seem like friends, rather acquaintances after a one night stand, which is pretty much what they did. Their first conversation is mostly Miguel trying to get quotes for his journal and flirting with him rather than any kind of real discussion.

Gifs courtesy of @phakphumm from this post

Alex isn't stupid; he knows Miguel is flirting with him, however he chooses not to acknowledge it. He doesn't discourage him, but he does not encourage him either.

He avoids saying anything about it at all. His expressions after the eyelashes comment show him at a bit of a loss for how to respond. Alex seems flattered by the compliment, but doesn't seem to have any real desire to hook up again.

Everything Miguel says, he says in an attempt to get something out of him, whether it be flirting to hook up and/or get quotes for his journal.

Same thing at the state dinner; Alex isn't fully paying attention cause he's busy staring at Henry, but Miguel opens with compliments, specifically about his memo, which is definitely an attempt to flatter him. Then he starts asking direct questions about the campaign, Alex doesn't answer, and he walks away. They're not really friends.

New Territory

It's one thing to admit being somewhat attracted to the same sex, under limited, physical circumstances. Lots of people often joke about "being straight/gay but I would sleep with this person".

It's another thing to develop an attraction to a person you know of the same sex when you've never had those feelings before. It's not just physical anymore, because you know and like this person outside of that context, and the physical intimacy gains a new meaning.

Alex VS Feelings

This is a new feeling for Alex. This man practically makes out with two women he barely knows without any qualms, but when he's waiting to see Henry? His close friend who he knows and plans to kiss?

He is nervous; not just a little nervous either:

Alex is a pretty confident guy, able to host massive parties and dance without any reservations about it, unlike Henry who awkwardly bounces. He's a fantastic public speaker. Excluding the wedding, which were extreme circumstances, he's able to navigate a room comfortably. We know from the closet conversation that he used to get scared, but it's clear based on his campaign efforts, the DNC speech, and so on that he's grown into his role and can play it well.

Here, Alex can't sit still. He doesn't know how to stand. He's shifting around, almost pacing. He visibly tries to muster up the confidence we know he has, but can't. He's trying to pose, or look confident, and almost gets there, but the second the door opens, he panics and just stands there.

"But that's just cause he really likes Henry!"

Yes, exactly; Henry is his first step towards fully realizing his identity.

Once the tension is broken, Alex is confident again and doesn't hesitate anymore. He may not be completely sure of his identity, but he is completely sure that he wants Henry. Those thoughts take priority when he kisses him. He knows physical intimacy. He knows how to kiss with someone regardless of who they are. He has been with a couple men, and is a man himself, so he knows what feels good. His confidence stays intact during their exchange when they get to his bedroom.

There are very small moments where you can see his nerves poke through.

When Henry pushes Alex over the couch, not only is it surprising to him, it also disconnects them for a few seconds. He has a chance to look at Henry while they're not touching or kissing, no direct distraction.

When Henry starts undoing his pants, he looks up, inhales quickly, blinks a couple times, and swallows; it's almost like he's thinking "okay this is actually happening now". Again, no direct distraction, as Henry isn't doing anything yet, and Alex isn't touching or kissing him.

Both moments go by fast though because he's focused on what he knows, the physical part. He knows he wants Henry physically, so he can focus on that, and deal with the other feelings later.

Alex is aware that he has feelings toward Henry that are new to him. He doesn't know what they mean, and it's nothing even close to what he feels later in Paris and at the lake house, but they're starting to form. He's the one who suggests that he and Henry see each other again, and you would have to be blind not to see the brief disappointment on his face when Henry says it has to be very casual. It's also important to note that this is right after Alex comes out.

The Bisexual Label

While his feelings make Alex nervous, Henry is still his friend and he feels comfortable around him. He's the first person he comes out to; he was unable to say anything definitive about his identity during his conversation with Nora, despite her best efforts to help him.

Henry is the first person he tells and he distinctly shows uncertainty when he first uses the bisexual label:

He's serious about it; not overly serious, but he's coming out very formally. He's nervous, even though he's telling Henry, who he literally hooked up with five minutes ago. Henry already knows he's attracted to men. Alex is not nervous about that; it is clearly the label that he's uncertain about.

Confidence

A lot of people get taken by surprise when they start questioning their identity because they had simply never thought about it before.

The uncertainty Alex has about his identity was initiated by his feelings for Henry. Alex clearly never considered the idea of being in an actual relationship with a man. Without Henry, he may have never figured out that he was fully bisexual. He may have continued fooling around occasionally with guys, never giving serious thought to the other possibilities, unless/until he met someone like Henry who basically smacks him in the face with a mirror.

Being with Henry makes him truly think about himself, and come to the conclusion that he's bisexual. Seeing/dating Henry also makes him more comfortable and confident in his identity over time.

While Alex hadn't acknowledged Miguel's advances before, after he sleeps with Henry, he actively calls him out on it and refuses without hesitation as soon as Miguel puts the suggestion out there. Miguel even says "Well, I don't anymore", confirming that had been his intention in earlier scenes.

He had been trying to hook up with him again, and because Alex never addressed it, Miguel thought that it was possible. Alex may not have addressed his comments, but Miguel could see for himself that they had a positive reaction; he felt flattered and bashful. That response coupled with the fact that Alex did not outright tell him to stop was enough reason for Miguel to think it could happen again.

Also, Alex told Nora that he got the feeling Miguel wanted to hook up again, but that he was a journalist, which does not say he wouldn't be down. He never says he wouldn't want to; instead he expresses his apprehension to the idea due to his job. So for all intents and purposes, before Henry came along, Miguel was correct to think it was a possibility.

This seems to be the first time Alex has ever actually addressed their tension, and it occurs after he starts seeing Henry and using the bisexual label.

Owning The Bi Label

Then Zahra finds him and Henry the next morning. She is kind enough not to tell Ellen immediately, because even if she won't admit it, she does care about Alex a lot and recognizes the importance of something like this. However, she makes it very clear that he needs to tell her ASAP or she will.

When he comes out to his mom, he is significantly more sure of himself when he uses the bisexual label. He laughs and uses the shorten term "bi" which is a small detail but indicates his confidence, compared to how he cautiously said "bisexual" when coming out to Henry. He's not at all nervous to use the term, and says it grinning.

This is also indicative of his confidence in his label because Alex doesn't lead with his sexuality. He leads with meeting someone, and clarifying that it's a man, and that it's Henry. So once they're on the couch talking, Ellen is also already aware that he is attracted to men, but this time, he's prompted about his label and he shows zero nerves about using the term "bi".

Queer Identity

By the end of the movie, Alex is able to publicly refer to himself as having a queer identity. Obviously, he was outed against his will, but he is still able to stand up and acknowledge who he is without nerves about it. He has been with Henry for a year, and he knows who he is, and he’s not ashamed of it. As he says, the leaks were an issue of privacy, not shame. Alex is not afraid to say who he is, and he is queer, he is bisexual. He’s a different person than he was before Henry. He’s learned about himself because of him.

Does he have a complete, computer-error-noise breakdown over it? No, he doesn’t, but he does not immediately start waving a bi flag around either.

Okay, that’s all! This took so freaking long to put together, but I hope it helps people understand how his bisexuality is addressed in the movie. Just because he has a different journey than he did in the book does not mean he did not have a journey at all, and I hope this allows people to see it more clearly! Thank you for reading!

#red white and royal blue #rwrb #rwrb movie #rwrb thoughts #bisexuality #alex claremont diaz #taylor zakhar perez #miguel ramos #henry hanover stuart fox #ellen claremont #firstprince

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felikatze · 6 months

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ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

#feli speaks #in stars and time #isat #isat spoilers #lays down on floor. it's done. it's done #i actually narrowed down in scope to just focus on the combat by the way. and this is like. several thousand words

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