this character makes the whole game!

Anyone else feels uncomfortable about Bioware characters because they feel like “uncanny valley” thing? I mean, they’re somewhere in between your typical rpg npcs that exist just to give you quests and offer tiny bits of comments and real people. Like. They have all those conversations, various responses and reactions, party banter etc etc which make them seem more alive than characters of other open world games, but at some point they do run out of available dialogues - regardless of whether you’re a kind to try and get all available extra content right now, or actually try to save up some things for later.

And that’s exactly the point that ruins the whole immersion for me. On the back of my mind i sort of…always expect to see more deep personalities from BW than from other games and developers because it’s Bioware, huge story-driven games with believable characters is their thing. But of course there’s always a technical limit, and despite knowing it’s there it’s still weird to hit the wall every time.

I very rarely make characters that aren’t ponies but meet my new children!!! I love them so much!! Kip is my sweet boi and Sammy is his sweet lil girl!! They go on adventures and goof off!

Y’all know how most games have the big journey and then there’s all the side quests to help people out? Kip and Sammy do those small quests, their whole thing is they go around helping people out. THEY ARE PRECIOUS

6

I really HATE finishing everything and then that’s when I notice I missed something. Happens every single time. 

Anyways, I really missed drawing these dorks so I’m making up for lost time. Have another transformation gif set among the sea of many. I forgot animation could be tedious but it’s still so fun. I also wanted to announce that I’m planning to open a patreon account very soon. I need some extra cash to pay off a few bills. ;_;

Keep reading

im like confused as fuck why people are saying they dont wanna support Dream Daddy cause the Game Grumps had help in making it…

Dream Daddy had an awesome representation of the LGBT+ community. Its probably one of the best for gay and trans representation too. You have the choice to be a to be bi/pan because you choose whether or not your spouse who dies in the beginning was the mother or father, as well as adoption or giving birth, meaning you can have a trans male as the father who gave birth.  As well as to that, you can be a trans dad. Ive seen countless posts of people saying they were crying at the fact that a game represented them. You dont see enough trans characters, as well as a trans dateable dad in the game as well. And a lot of games that are considered to have gay options make a big deal about the whole gay thing, but this game is accepting and doesnt give it a second thought. There is so much good representation in all of this and despite if you like the game grumps or not, please dont not support the game because of them. 

Support the game because its such a good representation for the LGBT+ community! 

anonymous asked:

What is your fave hq!! Team??????? (Is it shiratorizawa?????)

Nope, it’s Nekoma!!!

I find it ironic that in a game filled with so much LGBT representation, including trans characters, POC characters, and characters of different body shapes, each with sweet, adorable moments that depict them as being equally deserving of love, the fact that the cis, white, physically fit dad is evil in an almost impossible to achieve ending suddenly makes the whole game homophobic.

butthatsnoneofmybusiness.jpg

Creating Likeable Characters

Sometimes it’s difficult to make your characters likeable as they are tested and are pushed to further and further lengths. Sometimes they have to make hard decisions, and sometimes the pressure gets to them and they mess up, hurt another character or an innocent bystander. How can you keep them likeable throughout the whole plotline?

- Keep their motivations pure.
It almost always comes back to the heart – if their heart is pure, and that’s established early-on, the audience is more likely to root for them.

- Give them flaws – make them human.
Not every character has to have some huge problem, like an addiction or a traumatic past or a disability – if your entire cast does, it’s no problem, but it’s not necessary. But every character has to have some flaw(s), whether it’s cheating at card games because he can’t stand to lose or being too-closed minded or closing off when she gets too emotional. If your character doesn’t have a flaw, they start to come off as too perfect, too angelic, pretentious.

- Give them permission to mess up.
This ties in with flaws – if your character is inclined to make a bad decision at any point in the plot, don’t steer him away from it because “oh no he’s my protagonist and he must be Good and Whole and Pure and All-Knowing”. Let him walk into that ambush despite the sick feeling in his stomach and get half his army killed; let her rush into a confrontation with a bully and get into a fight with another girl who has a switchblade. Let your characters mess up – it shows that they’re human.

- But if your character messes up, let them own up to it eventually.
The general who killed half his army by ignoring the unease in the back of his mind might cry over their makeshift graves long after the rest of the platoon is asleep; the girl sitting in the infirmary might feel remorse for knocking her opponent’s block off. Or your characters might argue and might be stubborn and might not apologize for weeks. But let them apologize eventually. This goes back to the heart, and what the character knows is right.

- Relationships with other characters are vital.
That’s not to say a loner character can’t be likeable – but the audience’s perception of a loner character is determined by the thoughts/words of other characters. Characters all color each other and define parts of each other, just like people do to each other in real life. If your character is a jerk to other characters and other characters don’t like him (especially if the characters who dislike him are likeable), the audience won’t like him either. The character’s image depends not just on himself, but on his supporting cast.

Hope this helps! - @authors-haven

glazelazer  asked:

i just saw that picture of tavros pointing at himself and i realised you draw really beautiful hands!! i love the general structure idk got any tips for drawing hands??? thank you!!!!!!

oh jeez thank you!

uh when i draw hands, i keep them kinda blocky like a ps2 game so i can remember the shapes that go into hands

the only tips i really got is add the creases in the palms that are below the thumb and pinky, it adds some spice to that hand meatball

i don’t have a Whole lot to offer because this is one of those Practice and Use 500 Reference deals since hands are 5 fingered terrors

once you got the shapes kinda understood, you can play with the shapes a bit and make unique hands for characters if it suits your style

Pokemon and Child Abuse

That Guzma theory really got me thinking, cuz I looked into it and it really does seem to imply that Guzma’s dad beat him with the golf clubs as a kid

and I can believe it because Sun and Moon’s underlying theme throughout the games was Family

Lusamine’s relationship with Gladion and Lillie, Lillie standing up to her mother at the end saying things like children aren’t objects who belong to their parents, Mohn disappearing and not being able to be a father to them also affected them.

But your rival Hau and his grandpa Hala have a great relationship, as well as Player and their mother. Even professor Kukui has a wife this time and semi adopted daughter in Lillie and calls you “cousin”

Every important character has their family relationships highlighted as important influences on them in this game, that really floods the whole “Family is important and will affect you” theme

So it makes sense to have the villains showcase where that theme can go wrong. When “Family” goes wrong and how THAT affects you, because really Guzma has all the telltale behaviors and thoughts of a heavily abused person

Heck Team Skull even is a family created for people with no family

*further thoughts edit*

and I kinda like how both Lusamine and Guzma as villains, showcase both sides of an unhealthy family and the influences it can have. Lusamine is an abusive Parent, Guzma was abused as a Kid. But at the end of the day, I do like that no matter how “bad” Guzma seemed to be and act like, he was still able to be redeemed and show a slight remorse for his actions as an adult, like he knew his violent tempers stemmed from his father’s violent tempers and didn’t really want to continue to the cycle, but “beating people down is all he knew”

He was like that cuz he didn’t know any other way to be, and I like that the post game stuff showed him reconnecting to his old master Hala and interacting with Kukui and building a better support network for himself, little by little, they at least showed that change was happening for him

then further with the protags they showcase three different healthier ways of having family dynamics. Player character and Mom have a great relationship with no conflict. Hau and Hala have healthy conflict where they respect eachother and can resolve issues and support eachother. Lillie and Gladion, while their mother soured their family, the way they responded back was intended to showcase the “healthy” way to respond. Lillie calling out her mother’s actions as wrong and building her own independance were the best and their sibling bonds remained each others supports (the only thing that ruined that for me was Lillie going back to her mother, which I guess I can get, if she’s her only parent. But Still. Really feel like you shouldn’t have to crawl back to abusive parents, that’s not always the best solution. Kukui is there for you Lillie let him adopt you!)

Furthermore, you can think of Team Skull and Plumeria, one of the few major characters who we DON’T know who her family, as the showcase for the effects of how not having any family at all can affect a person and how you have to try to build your own from scratch. Plumeria really does take the whole “big sister” thing seriously, she’s all they got, but also they are all that she has too.

so this line

“Adversity is an opportunity for change.”

and this line

“Pain is an excellent teacher.”

you’d guess that these are quotes from Akande “Only through conflict do we evolve” Ogundimu, right?

nope. you’ve heard them in game before– they’re Zenyatta’s lines. 

I think it’s pretty interesting that Zenyatta has many lines that sound eerily similar to Doomfist’s, but with a wildly different tone. 

“Being eager to learn is not the same as learning.” “A lesson in humility.” “You must learn from your mistakes.” “One cannot survive on strength alone.” and so on.

While they are saying similar things– that through hardship, trials, and experience, we grow and change– they are not saying the same thing. Doomfist’s perspective is that widespread conflict and battle will change humanity as a whole. Zenyatta’s perspective is that people should change individually to find their own path and place in the world– to find balance between harmony and discord, figuratively and literally. 

they make interesting character parallels, and it would be cool to see that explored in game. 

You guys are taking this too far

The new popular post is really starting to concern me. It’s stating that Joseph is abusive, that he was the only person who cheated in the relationship, and that he is manipulative. This is really sad to see for such a good and well written character in such a sweet and wholesome game.

Neither character is flawless. They were both cheating - Mary was flirting with several men, and she actually leaves the bar with one in Robert’s route. Joseph cheats on her with you after they have decided to divorce. Mary didn’t care one lick about her youngest child in one part of the game. Joseph lost track of his twins who went on to tear apart another person’s property. Neither of them were happy in their marriage, and they are both flawed characters…But that’s what makes them so great!

Now, again, I’m not saying either of them are saints. I’m just saying this whole “Mary is pure and Joseph is literally hurting her” is actually making me sick to my stomach. You’re turning a sweet game into something even more sinister than the datamined cult ending based on no factual evidence at all. The devs haven’t said ANYTHING (at the time of writing this) about Joseph’s endings or Mary.

Both characters are flawed, yes! But that’s what makes them so good! Joseph’s route is morally grey, yes, but he wasn’t intentionally manipulating you into an affair, and he wasn’t ever hurting Mary. They both love each other, it’s just…Not working out anymore. And that’s okay! That happens! It’s implied Mary lost her fifth child and sunk into a depression while Joseph struggled to keep things afloat. It’s implied that Joseph is having a mid life crisis while Mary is struggling with alcoholism. They are both struggling at the time you come in. Both of them, and neither of them are at fault for not fixing or helping the other.

It is really unfair to tell people that them dating/liking Joseph was all a ruse and that it’s a bad idea. It’s unfair to take such well written characters and force them into a box of 100% good or 100% bad. It’s okay. Joseph’s route is okay, and if you count in the way your character reacts (the “was there something I did wrong?”) and the fact that we’ve find other content in the game that appears like it actually should have happened (walking Mary home), it’s more heavily implied that there’s a glitch than “the whole point of Joseph’s route is to show you the dangers of dating a married man.” That isn’t fair in a dating sim. You are literally supposed to date him, so saying that you weren’t supposed to date him completely destroys the entire point of the game.

What I’m trying to say is just…Can we please stop with this unneeded and poorly evidenced drama over Joseph? It’s very upsetting to people like me who just want to enjoy the game and enjoy wholesome content, but keep seeing people talk about how Joseph is a terrible man who may actually be hurting his wife is…It’s too much.

Please, guys? Can we tone it back a little?

10

character design 
kingsglaive vs final fantasy xv

OFF THE CUFF HOMESTUCK THOUGHTS #3: THE SELF PILE DOESN’T STOP FROM GETTING TALLER OR: THE PROBLEM OF DEAD MARIOS

DISCLAIMER

IMPORTANT THEORETICAL FRAMEWORK

[CHECK THE TAG FOR MORE THOUGHTS]

So, a long-ass time ago, Rose and Dave had a conversation like this:

TT: After you go, what do you think will happen to me?
TT: Will I just cease to exist?
TG: i dont know
TG: i mean your whole timeline will
TG: maybe
TT: Maybe?
TT: Is there a chance it’ll continue to exist, and I’ll just be here alone forever?
TT: I’m not sure which outcome is more unsettling.
TG: the thing with time travel is
TG: you cant overthink it
TG: just roll with it and see what happens
TG: and above all try not to do anything retarded
TT: What do you think I should do?
TG: try going to sleep
TG: our dream selves kind of operate outside the normal time continuum i think
TG: so if part of you from this timelines going to persist thats probably the way to make it happen
TT: Ok.
TG: and hey you might even be able to help your past dream self wake up sooner without all that fuss you went through
TT: I think the true purpose of this game is to see how many qualifiers we can get to precede the word “self” and still understand what we’re talking about.

This is the most important sentence in Homestuck.

I am dead serious.

Well, OK, I mean, it’s pretty important for understanding some major Homestuck themes and shit or something like that.

Also, I totally should have said: Pre-Retcon Doomed Timeline Non-Dreamself Rose but ultimately about to become Dreamself Rose who semi-merged with Pre-Retcon Alpha Timeline Rose and Doomed Timeline Dave aka Davesprite AKA future Davepetasprite^2 or as we all call them around the office, Davepeta, had that conversation.

Maybe you begin to see what I’m going to talk about here.

One of the major frustrations a lot of people had with the retcon was that the characters we ended up with at the end weren’t the ones we’d come to love and know throughout the story. Was it even worth it, to lose the characters we loved to the tyranny of Game Over? The victorious kids, with the exception of John and Roxy, were other people, with other histories, other goals, and other choices.

Allow me to submit that that may be the whole point.

SBURB is cruel. We’ve known that for a long time. It’s cruel not as Caliborn is cruel, but as the cosmos is cruel, as a supernova is cruel. It wants what it wants, and doesn’t care about how that intersects with the needs of humanity. It wants to make universes through a complex game-playing method, and drags hapless, vulnerable adolescents along for the ride. And most of the time it doesn’t even succeed, leaving its champions to rot in a doomed timeline or similar! Skaia’s victory is an amoral creation myth where individual human beings are just the carved pieces on the chessboard. (I mean, the other ones. Not the carapacians.)

Again, let’s consider the theme of VIDEO GAMES vs. REAL LIFE.

Homestuck, let’s be real, is basically some postmodern horror timey-wimey Jumanji. For a generation way more familiar with pixels than cute little tokens It’s easy for teenagers and in fact, basically everyone, to fantasize about escaping their life and slipping into some game world forever, where they get to do awesome things and be a heroic person.

Homestuck makes that literal. Congratulations, everything you ever knew is dead. You will never see it again, except your internet friends, who turn out also to be your family and other important people. I mean, from a distance, SBURB sounds like an awesome game, right? You figure out who you are and get to wear a cool costume displaying that identity. You get to make anything you want and enjoy this hyperflexible mythology tailored to YOUR CHOICES. HS fans talk all the time about how cool it would be to play a real version of SBURB. That’s a big part of the appeal of SBURB fan adventures. They put you and your friends in the story. Or your favorite characters! It sounds like a fantasy come true.

The thing is, as fantastical as it is, it’s also really fucked up, and ultimately you and your friends are being used. By a giant frog to let it have its babies. By the universe. By a smug blue cloud thing that doesn’t care about you at all.

SBURB does not care about you at all.

The funny thing, SBURB features a mythology with so many layers and nuances and seemingly human motifs about growth and self that you might search for some grand ultimate meaning behind it, but it’s not even human enough to have a personality, to be something you can argue with or fight. It just is. It’s all the cruelty and power of a god without any of the dazzling personality. It’s empty. It just wants to make universes all day long, or fail trying. It is a great, weird tadpole-making machine that eats children.

One of the big ways it doesn’t care about you is its attitude toward the self. Humans and trolls and whatnot prefer not to be relentlessly duplicated. SBURB says, oh yeah, let’s make tons of copies of the player characters and use them for a lot of different purposes.

There’s the dreamself, an essential bifurcation of identity (you are now and were always the dream moon princex) that sometimes gets merged into god tier but sometimes doesn’t. There’s doomed timeline selves, who exist ultimately to augment an Alpha timeline whose Alphaness is decided very arbitrarily and frequently by Lord English. There’s the you who exists before a scratched session and the you who exists afterward, who are two different people but started as one baby in an act of ectobaby meteor duplication, your player self and your guardian self. Dead timeline yous fill up the dreambubbles made by the horrorterrors and get endlessly confused with each other. Any one of these could be the you experience being at any given moment, and which one it is entirely arbitrary. Don’t like being Dead Nepeta #47? Tough hoofbeast leavings, kiddo.

To top it all off, in Terezi: Remember, we learn that every single time we thought someone changed from one self to another, was resurrected or something like that, it was another act of duplication. For every time someone’s died, there’s another version of them waiting in the Dream Bubbles, surprised that they’re not the main character anymore. And we have no way of knowing which is which. Even John, good old everyman John, may or may not be the person who died three or four times. It’s really impossible to say whether we’ve been following the same person throughout our story, or just the illusion of the same person, like a horrifying cosmic flipbook.

The retcon is a return to this same theme. Ultimately, there’s very little new in the changes John makes to reality except that they drive the point home.

John’s friends all died. John and his friends won the game. These things are both true at the same time, except those things may not have happened to the same people. There was a happy ending. Hooray! For, um, some folks who may or may not be the ones we care about. In fact, it’s very confusing, because from Rose’s perspective, Roxy is dead but came back to life, and from Roxy’s perspective Rose is dead but came back to life, except also she came back to life as a weird tentacle catgirl of pure id and self –indulgence. So there’s that. Um. Which Rose are we rooting for again?

Or wait: is it none of them, because the first Rose died in a doomed timeline, hundreds of panels and a number of years ago?

There’s a tension here which one experiences between saying it’s okay because it’s still the same people, and saying it’s not okay, because it’s not the same people at all. This tension is exactly what we’re meant to wrestle with. To put it another way, Homestuck asks if identity can work in aggregate. Are all Johns John, all Roses Rose, and do they all share in what they accomplish? Or are the final victors only accidents created by the whims and needs of the frog baby machine?

What I’m saying, basically, is that the retcon, in the sense that it pointed out our confused relationship with these characters, was already here.

In interviews and questions put to him over the years, Hussie constantly compares HS and SBURB to other video games, particularly Mario, which he frequently returns to as a baseline of comparison that most of his readers will know. One answer, from a recent Hiveswap interview, is particularly revelatory. To the question of “Why do you kill off all your characters?” Hussie replies:

[…]HS is supposedly a story that is also a game. In games, the characters die all the time. How many times did you let Mario fall in the pit before he saved the princess? Who weeps for these Marios. In games your characters die, but you keep trying and trying and rebooting and resetting until finally they make it. When you play a game this process is all very impersonal. Once you finally win, when all is said and done those deaths didn’t “count”, only the linear path of the final victorious version of the character is considered “real”. Mario never actually died, did he? Except the omniscient player knows better. HS seems to combine all the meaningless deaths of a trial-and-error game journey with the way death is treated dramatically in other media, where unlike our oblivious Mario, the characters are aware and afraid of the many deaths they must experience before finally winning the game.

The big man hass the answer.

Homestuck is the story of those dead Marios.

Other works, like Undertale, have engaged with this topic as well. But one of the major differences between Undertale and Homestuck is that in Undertale, between “lives,” one’s consciousness is preserved. In Homestuck, it’s discontinuous, and the value of the overall trial-error process is called into question by the fact that you, the player, may not even get to experience the victory. What meaning does victory hold if that is the case?

So, to put it in a nice thesis format:

One of the central themes of Homestuck is the challenge of reconciling an arbitrary and destructive pattern of growth and victory with the death and suffering you experienced along the way. Homestuck asks: is victory worthwhile if you’re not you anymore? And would you be able to know?

What even is the self? Is there such a thing?

If you were left feeling somewhat disconcerted by our heroes’ tidy victory and departure to their cosmic prize, or by how which Rose gets the spotlight is so deeply, deeply arbitrary, there’s a good reason for that. You’re supposed to be.

The philosophical problem of Wacky Cat Rose is insignificant next to the bullshit of SBURB.

And don’t forget—John and Roxy’s denizens helped them achieve the retcon. Ultimately, the victory they achieved was mediated by the same amoral system of SBURB, and was a victory over an enemy, Caliborn, whose power was created, perpetuated, and ended by that same system.

Okay, so here’s where it gets contentious. There’s an argument to be made, which I’m not sure how I feel about, that some of the character development that could have been in post-retcon Act 6 was left out precisely to push this feeling and play up this tension. Note that this is not the same thing as saying that they were deliberately badly written, but that they’re deliberately written to make us uneasy.That Hussie deliberately played with the balance between making these retconned characters feel familiar and making them feel eerily different to leave us feeling uneasy with the result.

I’m not sure I like that idea. It smacks a little too much of that “everything is perfect” thinking that comes sometimes from the far Metastuck camp. Some of the differences may also be the result of flawed writing. (See: Jane and Jake’s character arcs, which I might talk about later.) And I want to be able to critique those flaws. Ultimately, I think we still needed more time and development to figure out who these new people were—even if our goal was ultimately to compare them to their earlier selves. And again, more conscious acknowledgement of the problem from our heroes—especially John, the linchpin in this last and biggest act of duplication—might have helped drive this theme home.

Still, I think the Problem of Dead Marios is one of the most fundamental questions of Homestuck, maybe THE biggest question. It’s essential to understand it to understand what Hussie’s doing—or attempting to do— in the retcon and the ending.

I don’t know that Homestuck offers us a clear answer to that question. There are some confusions around the issue, too. Where do merged selves fit in, exactly? Clearly they’re a big part of the discussion, because Hussie spends some time in Act 6, especially near the end bringing the identity-merging powers of the Sprites to the forefront. (See also: the identity-merged nightmare that is Lord English.)  Can we even come up with a clear answer to what it means when a dead Mario returns to life grotesquely fused with Toad? How does he beat the game? Does he tell himself that the princess is in another castle? Or what if he merges with Peach? Are they their own princess? How do they know if they’re in the right castle?

Um. Anyway—

Interestingly, it’s not all grotesque—spritesplosions suggest that personalities that are too different don’t stay together long, so a fusion might rely on some inherent compatibility between the two players. Erisol’s self-loathing, sure, but also Fefeta’s cheerfulness. Davepeta seems to be a way of bringing out the best in their players, a way of getting Davesprite past his angst and Nepeta past her fear. Honestly, I know a lot of people don’t like Davepeta as the ending of these two characters’ arcs, but I can’t help but love it. They’re the ultimate coolkid. Cool enough to know they don’t have to be cool. Regular Dave got there, too, of course. But was his retcon assist from John ultimately any different?

Then, of course, we come to Davepeta’s speech to Jade in one of the last few updates before Collide. Davepeta suggests that there is such a thing as an ultimate self beyond the many different selves one piles up throughout the cosmos. A set of principles that describes who you are that’s larger than any individual instance of you. Your inherent Mariohood. (Maybe this is comparable to your Classpect identity, which attempts to describe who you are?) Davepeta even tells Jade, strikingly, that one might learn to see beyond the barriers between selves. Be the ur-self, in practice, rather than theory. This would be incredible news for Jade, who wrestles with the issue of different selves perhaps more than any other character. (There’s a lot to say about Jade.)

Honestly, I wish this ur-self idea had been developed more, and I honestly expected it to be. It doesn’t fully come to fruition, I feel. (Same goes for Davepeta’s character. Ohhhh, ZING!) I’m not sure it entirely makes philosophical sense, especially with fusion—I mean, doesn’t Davepeta themself disprove it? Or at least complicate it? Like, are they part of the ur-Dave or the ur-Nepeta? They seem to imply they’re BOTH? Does that even work? Does that mean that Marieach is all the Peaches and Marios at once?

(In fact, Bowser/Peach/Mario are but the three manifestations of one eternal principle. Also, Bowser/Peach are the true power couple. Read my fanfiction plz.)

And what, say, of Dirk, who ultimately ends up rejecting aspects of his other selves? It feels like there’s a lot more you could say here, and I wonder if Hussie would have said more, if he’d had time. What’s weird is, none of our victorious kids never reach an ur-self (though to their descendants, they become archetypal to some degree), which one might have expected. They’re just individual selves who happened to get lucky. Does that make them representative of the whole? It feels like something’s missing here, or like something got dropped at the last minute.

Same goes for the idea of the Ultimate Riddle. You’d be forgiven for missing it, but there’s been this riddle in the background lore of SBURB that seems to have something to do with personal agency in this overwhelming, overarching system. Karkat called it predestination, saying something like “ANY HOPE YOU HAD OF DOING THINGS OTHERWISE WAS JUST A RUSE.” But others have interpreted it more positively. My favorite interpretation, from bladekindeyewear: the answer to the Riddle is that YOU shape the timeline through your existence, personality, and choices, even when it looks like it’s all predestination. Ultimately it’s your predestination, your set of events, based deeply on your nature, that you are creating. Someone like Caliborn can use his innate personality to achieve power; someone like John might be able to use it to achieve freedom.

I definitely expected something like that to be expressed more explicitly. Like, a big ah-ha moment that helps John or Jade or whoever understand how to escape Caliborn’s system. Something like that would have been very helpful for a lot of our heroes, actually, who’ve been pushed around by Skaia and SBURB together, in finding a cathartic ending.  Once again, I wonder if something was dropped or rushed because there wasn’t time to put it all in. There’s places where you can see hints of that Answer being implied, maybe? But it’s kind of ambiguous.

You can see how the Answer to the Ultimate Riddle ties into some of Davepeta’s ideas. If your personality, the rules of your behavior are a fundamental archetype that goes beyond each individual self, then the answer to whether it matters if one self of yours makes it through to victory is an emphatic YES. You are all of those people, and by winning one round with Skaia, you’ve won the whole game, despite all the arbitrary challenges and deaths it heaps upon you along the way.

This may strike some as too positive for Skaia’s brutality, or again, some way of excusing flaws in many characters’ arcs, or unfair things that happen to them. To be fair, I don’t know that Davepeta’s necessarily meant to be taken as authoritative or the voice of Hussie. They may simply be offering a purrspective.

Hussie not choosing to come right out and engage with the Ultimate Riddle leaves the question of Dead Marios and what they mean for the victorious versions of our cast very open. I like that in some ways—let the reader decide—but I can’t help but wish we had more to work with in making that decision. Plus, it might have brought the thematic messages of Homestuck all the way home to tie them more closely to our characters and their experiences—character development being one of the things most people found most lacking in the ending.

NEXT TIME: All that wacky gnostic stuff probably

i genuinely have a lot of thoughts on the hunger as a final boss, and how the final form it takes will reflect on the general philosophy of the podcast as a whole piece of art. i really like the way jon/the hunger has been written so far, because I think the only way to make a villain this abstract interesting is to make  their motivations equally abstract. philosophically it’s kind of true that if you reach a certain point from a certain perspective, destruction and ascendence can often seem like the same thing, and I think griffin is going down a very smart path by keeping his heroes normal, grounded people–the suffering game arc and this arc are doing that very effectively. it’s worth noting that so far the 7 crewmembers (and especially THB) are holding up the tolkein-esque ideal of the average, small person who can stand outside a seemingly abstract conflict where temptations and power seem insurmountable and still make rational moral decisions—not inhumanly perfect decisions, but extremely human decisions (or elvish or …dwarvish decisions. you get me.). and maintaining this balance is even more of a conscious decision when you consider that the game mechanics of d&d would 100% result in the characters going “god mode” if that was the choice griffin and wanted to make. i also am really, really feeling how much this show cares about art, as dumb as that sounds–i actually can’t think of a single piece of media that treats creativity as a palpable, powerful essential force in the universe, and that’s really fuckin cool. and while I wasn’t sold on the whole ‘bonds make up the universal power’, i think it’s becoming clear that what that actually means is that living, and more over living your life as a differentiated individual who relates to other differentiated individuals, is what runs the universe. that’s different than “the power of love”–it’s actually a middle finger in the face of a moral relativist “we are all the same and therefore no one is anything” philosophy. i can’t wait for the finale. 

Everyone always theorizes about the possible dark and dramatic endings to kuro and I’m just thinking, wouldn’t it be funny if it was the complete opposite? The final twist is something really lighthearted. Like it turns out the whole thing has been them playing a fantasy game, sort of d&d style, and making up the story with their characters in Ciel’s living room on a rainy day. When characters die it’s because they had to go home. Lau’s been missing because he’s in the kitchen getting snacks. The plot sometimes seems like it isn’t going anywhere because they’re just making it up as they go along. The lighter arcs are when soma and Lizzy are in charge, the darker ones are mainly due to Ciel being a massive edgelord. Vincent is annoyed that they killed him off right away because Ciel didn’t want to play with his dad, so he keeps popping in to have flashback moments, dragging his friend deidrich with him. Sebastian isn’t even a demon, he’s just Ciel’s older brother that Ciel insisted on being a demon and doing everything he asks. And at the end there’s flashback scenes to them playing out major scenes from throughout the story.

things that have happened in super paper mario
  • apparently mario is the hero of prophecy said to save all worlds from a universe-ending chaos heart brought about by princess peach and bowser getting married
  • if you keep saying no to the guy who wants to give you the pure heart so you can save the world you will eventually get a game over
  • “ok yeah. cool. great. got it, k?”
  • “GRAH-BOOGLY”
  • just o’chunks in general, really
  • “and so i arrive, like a sudden windstorm at a kindergarten picnic”
  • shut up dimentio
  • c:// error c:// running insult generator c:// result : go away yeti-lip
  • BLECK says count bleck
  • theres a part in chapter two where everything is rhyming. everything. is. rhyming. merlee won’t stop rhyming and mimi does it herself on accident
  • “and here i thought mimi’s ideal world was a gem-filled pool with hunky lifeguards”
  • “ENJOY LABOR”
  • press left on the d-pad for six minutes to get at least 10,000 rubees to get a really unnecessarily long code from a guy to get 1,000,000 rubees, essentially stealing them, to pay off your debt
  • mimi breaks her own neck and spins her head around before giant-ass spider legs come out of her head and she chases you around merlee’s unnecessarily large basement
  • CHERBILS
  • peach is actually a solid character in this game and she owns up to her own actions and helps you (and is a really good and balanced character) in the game
  • “my friends on the digibutter.nerr forums are gonna FREAK when i show them this”
  • apparently the bitlands has an affinity for red
  • “listen, pal, nobody likes having their butterfly kidnapped by a nerd, but you have to listen to me”
  • “but im BOWSER! im prime cut 100% final boss!”
  • this guy just shows up and starts hollering about bowser’s girth
  • I WOULD GLADLY STRANGLE AN AMAZEE DAYZEE IF GIVEN THE OPPORTUNITY
  • “SHAKE THAT THORAX”
  • “do not think i did it out of the kindness of my robot heart”
  • right before you fight the boss of chapter three you have to answer a bunch of questions as peach (”my first love was an anime character!”) and then you have to go IN as peach and the boss (a chameleon nerd) gets so nervous that he opens up a program that turns the whole world into a dating sim
  • “so… how much do you make”
  • shut up dimentio
  • if you say no enough times to using the helmet you’ll get a game over
  • squirps
  • just
  • squirps
  • “AMORE AMORE AMORE”
  • theres an outhouse in space for some reason
  • you take this guy’s precious treasure map and give it to some alien fairy in said space outhouse for him to use as toilet paper
  • LUIGI GETS BRAINWASHED????
  • mr. l just kicks squirps away. just kicks him away.
  • “CRAGGA-WAGGA-WOOOOOOO”
  • a very old caveman says “hook us up, brahs”
  • you can make a pixl shout various phrases, all of which i opted to make the guy say curse words
  • “YEH CRAZED LOON”
  • S  H U T  U P  D I M E N T I O
  • “OOOOOWEEEEEEEOOOOOOOO”
  • a world literally ends right before your tender eyes. there is nothing left when you return to its remains.
  • DIMENTIO KILLS LUIGI
  • HE ACTUALLY KILLS HIM
  • LIKE
  • LUIGI ENDS UP IN THE PAPER MARIO EQUIVALENT OF HELL FOR SOME REASON
  • HE ACTUALLY DIES
  • AND THEN DIMENTIO GOES AND KILLS MARIO, PEACH, AND BOWSER TOO
  • WOULDN’T IT BE FUN IF WE COULD GO TO HELL
  • wELL SURPRISE, THE ONLY ONE THAT WENT TO HEAVEN WAS PEACH
  • “some people call it world -1″
  • the nimbis just talk in ye olde english
  • “gameovergameovergameovergameover CONTINUE”
  • borguy the 64th
  • shUt up dimentio
  • the weird emotional underlying story you’re getting after each chapter with some wahoos named blumiere and timpani with some mahjong-ass music playing in the bg
  • “THOU ART TOAST”
  • there is a character that is literally the paper mario equivalent of lucifer
  • SHUTUPDIMENTIO
  • IT TURNS OUT THE MAIN VILLAIN OF THE ENTIRE GAME IS A VERY EMOTIONALLY TORTURED PERSON AND IS TRYING TO COMMIT MASS OMNICIDE BECAUSE HE THOUGHT HIS DAD KILLED HIS LOVER
  • “What Ended My Last Relationship” “DADDY ISSUES”
  • one by one each of your party members and each of count bleck’s main minions get ‘killed off’ before returning in the final fight
  • I AM GOING TO STRANGLE YOU DIMENTIO
  • DISRESPECTING LUIGI
  • DISRESPECTING LUIGI
  • DISRESPECTING LUIGI
  • DISRESPECTING LUIGI
  • DISRESPECTING LUIGI
  • that ending is going to rip out your heart and stomp on it so you’d best bring some tissues
  • NASTASIA DON’T CRY
  • DFJHKFLHFLDJKSHDFKHGJKLDHFGLKHGFDJKLHFGIOGJ
  • a good game overall

I really wish Dragon Age fans would understand that “Moral Greyness” can be JUST as contrived and convoluted as regular “Black and White” and “Happy Ending.”

Just look at the Mage/Templar Conflict. The devs have tried their darnedest across three and a half games to present the conflict as 100% balanced with both sides equally sympathetic, and they’ve failed each time. The devs have said they felt they made the mages look “too sympathetic” in the first game. For the second game they realized too late that making the player character come from a family of apostates and have two mage companions but no Templars made Templars look bad; and they fully admitted that Leandra getting killed by a crazy blood mage serial killer was an attempt to vindicate a pro-Templar playthrough. DAI? Well, we all know about THAT… (Retconning the Dalish to have a “three mages max” rule just to make Circles look better by comparison?) All to make a flimsy, “See? Both sides are equally flawed” argument that’s as sturdy as cardboard; blow on it, and it falls over.

Just look at The Masked Empire verses Wicked Eyes and Wicked Hearts. In the book, the human nobles are all completely despicable, racist, genocidal asses, while Briala (and Felassan to a lesser extent) is the most sympathetic and likable character. Briala is a straight-up hero who struggles to help her people despite knowing they won’t thank her for it, and being shit on by everyone she meets right and left.

In DAI, the devs flat-out hid the many crimes and character flaws of Celene and Gaspard, and hid many of the virtues and character strengths of Briala. Why? To create a flimsy and false “All three choices are equally morally gray!” so-called “choice.”

Just look at the Qunari. You can tell the devs have been trying their damnedest from game one to depict Qunari culture as rather alien and incomprehensible to outsiders and vice-versa, but still a good system with its balances of virtues and flaws like any other. And it never works.

And any time players complain about an aspect of their culture, they try to fix it next game. Sten said “women don’t fight”? In DA2 they’re like, “JK! Since the Priesthood allows both genders, we just made up this secret spy division of the Ben’Hassrath that allows female assassins. Please love our Qunari.“ When that didn’t work, in DAI they went overtime trying to make Iron Bull THE most likable character they could, then had him lend his charisma to explain away Qunari societal faults. Plus the whole “transgender acceptance” and “free love” and “Tamassran are still like family” thing, and the sudden, “Oh, the Qunari don’t REALLY keep women from fighting. If a woman is discovered to be good in combat, they just decide he’s a man who happens to look like a woman and let “him” fight. Please love our Qunari!”

And it’s NEVER WORKED. I mean, some small minority of weirdos like Qunari despite their flaws (myself included), but MOST players just find these flimsy attempts at “MORAL GREYNESS!!!” to be just that: flimsy.

So whenever I talk about a plot hole or character failing in the series, I’m so sick to death of seeing that go-to, knee-jerk, catch-all “moral grayness” excuse.

Yes. Sometimes, when written well, a morally grey conflict can be very engaging. But sometimes some characters or divisions naturally come across as more sympathetic than another. I’m not saying “one side is innocent and perfect and other other guilty and evil,” but sometimes one side comes across as a lighter shade of grey than another; it happens. If the devs would just embrace that and run with it and tell emotionally engaging stories, instead of spending so much time and energy trying to constantly backpedal or force a square peg in a round hole just for the sake of that original vision that just isn’t coming through.

- You can’t make a conflict where one heavily tyrannical and abusive faction holds complete power over another as a perfectly 50/50 “morally grey conflict” where “both sides are equally at fault.”

- You can’t take the freedom-fighting victim of horrific systematic abuse by two perpetrators of that horrific system and try to act like she’s “just as bad” or “on the same footing” as those abusers.

You can’t take a culture that thrives on robbing individuality, stripping free will, brainwashing resisters, and severely limiting the roles of its citizens based on their gender, magical ability, etc. and expect our modern freedom- and individuality-loving society to find them anything but restrictive and tyrannical.

“Moral Grey” can be just as CONTRIVED as any attempt at “black and white” or “happily-ever-after.” Because they’re still trying to force something that doesn’t fit.

What makes me laugh is, you know what type of person someone is by whether they favor Eric or Dylan. And everyone does, often subconsciously.

People who favor Dylan have suffered depression or currently are, able to connect with his feelings of loneliness and despair because those were the emotions he wrote about. They probably dream of love the same he did.

The people who favor Eric have depression or used to, just the same, but probably not as badly as their counterparts. They don’t connect with Eric’s sadness, they connect with the anger, hate, the teenage angst and lust.

In the end though…everyone forgets they weren’t one dimensional characters in a movie or book. But they don’t mean too. No one does.

We forget Dylan had Wrath on his t-shirt, we forget he helped make the pipe bombs and that he killed people as brutally as Eric did. We also forget Eric’s self-harm (via autopsy reports) and his feelings of regret towards his family, especially his mother. And I we remember these things, we forget to mix them into the whole person they were.

They were boys, murderers, depressed teens, guys who spent way too much time playing video games, lonely kids, horny little fucks before pornhub, kids who never really had the chance to grow up.

i might be looking into things a bit too much, but i just thought i’d share some things i noticed. 

so in today’s upload, we’re met with this:

he’s been with us all along” ––– now, bare with me for a second on this… what if this is a subtle reference to dark? mark started playing scp containment in 2012 in the beginnings of his channel. and around that time was when the whole ‘darkiplier’ character started to spring up in the community as well.

now, mark has started playing scp again, and coincidentally enough, dark has returned as well (returning in ‘a date with mark’, and ‘don’t play this game’). which poses that question: has dark been here with all of us the entire time, but only now started to make his move?

looking into this video, i picked up a few things… there’s one scene where mark is in the elevator and becomes attacked by an unseen being. 

You can feel something near you, but you are unable to see it. Perhaps it’s time is now.” it reads.

hmmm… well, looking back on it all, dark has disappeared for a while from the channel (only appearing on rare occasions) and mark didn’t seem to notice. which brings me back to the idea that dark has been there all along, but he’s been waiting for the right moment to come back. which is where the “perhaps it’s time is now” ties in. and now is the moment that dark’s been waiting for.

but it can’t all be coincidence that dark started to come back with the fact that mark is playing an old game he used to play, right?

what about this, maybe?

ah, a slender game! we haven’t seen one of those on mark’s channel for a while either. but there’s only one character who was associated with slender and even got around so much as to get an interview with him…

this guy… wilford.

and mark has mentioned in one of his tumblr posts, saying to “buckle the fuckle up” when someone stated that they hope wilford will return. which this could pretty much only mean that the bubblegum bitch is going to reappear again.

wilford is definitely not who he says he is. there’s more to him. i mean, in a date with mark, the guy literally teleports you to the bathroom where you find out that you’re actually chica. so i hope it’s safe to assume that wilford, in one way or another, can deal with time and space. so, looking back at the title “a scare from the past”, perhaps wilford is the one who is bringing back all these old games? and because of this, dark is returning as well?

the egos are definitely up to something. there’s got to be more to it than just a big coincidence. do they have something planned?? are they plotting something??? i just???/