Latest Posts by aimar01 - Page 3

This análisis is AMAZING

Also

ANOTHER STRANGE BEGINNINGS LOVER YAAAAAY!!!!!!!!

So I've been thinking quite a lot about the Princess as a character lately (more than usual I mean), and how there's something about her that feels so… real to me? Which maybe is a bit counter-intuitive at first, considering how she changes.

Usually when one thinks of a "well-written" character, one of the main qualities they'd think of is consistent characterization. But the Princess, by design, has a drastically different characterization in every route. At times the different vessels can feel like entirely different people! So if she changes so much, what even is her character? Who is the Princess?

It's a question that is asked by the game itself in a few places. The Shifting Mound yearns to understand herself, exploring the depths of her being with every vessel. The Stranger, which in many ways is a metacommentary for the game in general, examines this question by showing the Princess without any preexisting relationship or external influence. And yet, there's so many possibilities of who she could be that it's impossible to connect with, or even know any of them (at least in that moment). Attempting to follow the center staircase, vainly seeking the "true" path leads to a Princess more blank-seeming than ever. By the end of the chapter, they have no idea who or what they are.

The beating heart of this story is in the relationship between you and the Princess. It relies on her being someone that you care about by the end of the game. But how do you form a connection with her when every Princess is so different?

Well, there's a few reasons, but I'd argue that the vessels aren't nearly as different as they initially appear. There are many common patterns that appear across most of them: "familiarities that bind everything together".

For example, her motivations are actually very consistent:

She wants freedom

She wants connection

She wants to understand herself

I'm gonna break each of these down:

She wants freedom - from her chains, from the cabin, from the construct, from the restrictive roles assigned to her.

This can be seen throughout the whole game. The initial choice presented to you in Chapter 1 is to slay her or free her. In most chapters, her most immediate desire is to escape whatever is chaining her down, and multiple endings of the game involve her achieving this freedom (leaving the construct with Shifty, and leaving the cabin with the Princess in Unknown Together).

When bearing her heart to you, Nightmare screams at you to Let Her Out. Cage describes leaving as "all [she's] ever wanted".

If you directly contradict this desire in the Damsel by asking her to stay in the cabin with you, it's deeply distressing for her. Even though she agrees to do it, she's visibly uncomfortable with the situation. Notably, she actively contradicts your perception of her here, not reacting how you (or Smitten) expected her to. If her desires were completely malleable, she would conform to your expectations, but this desire is so strong that it can reverse the effects of deconstruction, seemingly convincing you that she isn't just a cardboard cutout of a person.

The only vessels that seemingly lack this desire for freedom are Adversary (+ her Chapter 3s), Razor, and the Greys to some extent. In all of these cases, they substitute the desire for freedom with the previously stated desire for connection with you (which she achieves through eternal combat, or the externalization of burning passion/suppressed emotion). Even then, Eye of the Needle describes leaving as "a fundamental truth [she'd] somehow forgotten" after leading her out. Even when this desire is repressed, it still seems to exist deep down, and can be brought to the surface in the right circumstances.

2. She wants connection and understanding - particularly with you. This is sometimes a more subconscious desire, but you see it in many vessels. Adversary feels connected to you through eternal combat. Fury places the weight of her agony on you in hopes of being understood. Thorn yearns for connections she feels she doesn't deserve. Wild experiences being connected with you and knows that this is what you're meant to be. Spectre wants you to understand her, which is part of why she's so content in P&tD despite the murder-suicide leading to it: you get so experience being her, and she isn't alone anymore. I could really go on.

This motivation draws from a few places, I think. On a subconscious level, she recognizes that you & she used to be a single being: the cycle of life and death itself. At the very least, she recognizes a feeling of emptiness when she's separated from you.

It also draws from how the construct isolates her. She's deeply lonely, trapped in the basement for who knows how long before you arrive. While you have the Narrator and voices with you from the beginning, she only has the cabin for company… which treats her like this:

As an extension of this, she's terrified of being alone. There's a reason why the Nightmare's sorrow is born from leaving her in the basement, why loneliness is a major theme of when she removes her mask, why trying to kill the Spectre leaves her grimly disappointed but abandoning her makes her completely spiral, why leaving the Princess behind in P&tD, Den, and Thorn are consistently the least satisfying outcomes to their chapters, why turning and leaving in Chapters 2 & 3 is such an inherently destructive act.

3. She wants to understand herself - the Shifting Mound is an explicit example of this, though you can see it in the vessels too.

Understanding herself and understanding you are inherently intertwined in Shifty's eyes, which is also reflected in the gameplay. You show her new sides of herself by making new choices, perceiving her in new ways, and giving her new experiences. In turn, she shows you parts of yourself by reflecting your perception back at you. If you've been on the STP Reddit recently you've probably seen loads of posts where people share their first playthrough and ask what it says about them. In a way the game becomes your mirror, helping you to better understand yourself in parallel with Shifty.

Self-understanding is also a recurring theme in STP in general (this post by @sharoo breaks it down very well). TLQ starts the game knowing nothing about himself, and is implicitly assumed to be a person, but throughout the game you slowly realize it's much more complicated than that.

Meanwhile, the Princess has been a prisoner for as long as she can remember, kept in complete isolation, with no autonomy: far from the ideal conditions to develop a sense of self. When you talk with her in Chapter 1, she struggles to answer even basic questions about herself. While a first-time player might assume this is due to her hiding things from you, she genuinely doesn't have answers to these questions. She doesn't tell you her name because she never had one.

And I think this is why many of the Chapter 2 vessels cling so tightly to whatever sense of identity you've established through Ch1's events (Nightmare's repeated line of "I am what I am", Beast's "There's no reasoning with what I am", Tower's "This isn't about desire. This is about what I am", etc.) They decide "what they are" based on the very limited experiences of Chapter 1, because that's all they have to go off of. (Adversary's "best 3 minutes of my life" line, while funny, is very sad to me in this context, considering the rest of her life within memory was spent chained to a wall with only a cabin who hates her for company)

Because the Chapter 3s usually involve a shift in your dynamic with the Princess, it also often involves her identity being disrupted in some way, forcing her to question or reevaluate herself (Skeptic!Eye of the Needle is confronted with freedom and can't reconcile it with her desire for violence, both Furies lose something essential to their sense of self and take it out on you, Empty Cup doesn't know how to define herself outside of being "the one who hurts you", Wild is fused with you and tries to redefine herself in contrast to the hatred/terror of the previous chapter, Cage comes to understand herself as being a powerless observer, and so on)

And then there's the Stranger, who never had the chance to build a relationship with you in Ch2, and couldn't build an identity around that role.

At the end of everything, we see her try to reconcile all these parts of herself. Shifty encompasses all of it at once, reaching divine enlightenment at the cost of losing touch with her sense of personhood. The Heart Princess meanwhile, is specifically the first Princess you met, although she's shaped by the experiences of the others. The Sharp Heart Princess describes herself as being "more" than she was before, having experienced and grown so much, and getting to know herself through all of it.

Meanwhile, Strange Beginnings has the Stranger develop a sense of identity compared to their Ch2, though they're still being pulled in different directions. While they still might not understand the full depths of their being, they take great joy in discovering new things in each other with you. It's a lot like the Unknown Together ending itself: not knowing what you'll find is what gives it meaning, and what really matters is that you're doing this together.

(I just really love Strange Beginnings in general…)

Beyond the Princess' motivations, I think it's also worth talking about her personality, because as much as she struggles to define it for herself, there's actually quite a few similarities across the vessels.

While these traits aren't all 100% consistent, the few times these patterns are broken can also tell us something about the Princess by showing what it takes for those personality traits to bend and snap, and how that change affects her.

One trait that stands out to me is that she’s generally very honest. She tends to state her intentions and desires very directly, both in Chapter 1 and in subsequent chapters. She's also comically terrible at lying about said intentions in the Razor's case lol. It makes sense too, since she has so little to hide in the first place. She stands in contrast to the Narrator, who insists that she's spinning a web of lies while being incredibly secretive and manipulative Himself. In response to His "she will lie, she will cheat" spiel in Chapter 2, many of the voices talk about how honest she was.

The only major exception to this honesty is the Witch, who notably only appears when her trust has been broken in Chapter 1: when you show her that her honesty is rewarded with a (literal and/or metaphorical) knife in the back. Even then, she's actually very honest with you about what happened after you died, her desire to leave, and her distaste for you lmao

Also from how she talks about not being able to help herself, and how much she genuinely did want freedom, her betrayals read more to me like impulsive decisions that she indulges out of spite than premeditated plots, which she rationalizes to herself as being in her nature (even though you are capable of breaking out of it, as shown in Thorn and Wild).

Additionally, this role of scheming liar the Witch declares for herself is one that makes her miserable. It keeps her from the things she really wants (freedom and connection), literally slamming the door on her own desires. It doesn't do her self-image any favours either:

Another trait prominent in Chapter 1 is her pragmatism. She's willing to cut her arm, resort to violence, fight dirty, put her head down and bear whatever suffering is necessary to get what she wants. Even softer princesses like the Damsel show this pragmatism: her behaviour could be read as a people pleasing response. You were the only one who tried to help her in Chapter 1, so if she keeps being nice to you, if she can make you happy, then you'll be able to help free her for good.

She's also incredibly bold & brave, facing her fears head-on while rarely letting those fears show. I mean, there's plenty of horrifying things that can happen to you both, but the times she's visibly afraid are few and far between (fighting Adversary unarmed, abandoning Spectre, showing your heart to Damsel). There's also the knowledge of what TLQ looks like from her perspective. She describes him as scary and hard to look at, but throughout every chapter she's willing to engage and interact with him, and in many cases even fighting him directly, and winning!!

I think it's in part a way of exerting control in a cruel situation that limits her control. And considering how her abilities change based on perception, outwardly projecting enough strength could actually be enough to give her that strength, so it's a trait that can end up reinforcing itself, like in Tower/Apotheosis.

She's also very perceptive: often noticing elements of how the construct works before TLQ does. Many vessels understand that you have to leave the cabin together by the start of Chapter 2. Prisoner knows to avoid the Narrator's attention, and that she could survive cutting her head off. Spectre understands that there's somewhere else she's supposed to be. Vessels like Burned Grey and HEA recognize that the cabin itself is keeping you small.

She seems very aware of how you perceive her as well, likely in part because of how she's affected by your perception. Even if she doesn't know her true nature, she would still notice herself changing and could link those changes to you. There's this extremely self-aware line in P&tD where she says "It's like 'you' don't really know what we're supposed to be", implies an intuitive understanding of how this all works.

There's a sense of playfulness to a lot of the vessels. From Spectre circling and teasing you, P&tD's casual quips and jokes, Nightmare's toying with you, Stranger's "Who are you calling weird?", Razor's everything. Even more serious vessels have moments of silliness, like Prisoner joking that the empty shackle might fit you, or Cage's head jokes. Some of this could be attributed to the humour in STP's writing style, but I also think it's just part of who she is. I mean, if we can characterize LQ as a big ol' goober based on some of his sillier dialogue options, then I think we can do the same for the Princess and all her silliness. Also, Clown Princess.

She has a strong preference for action over words - this is something emphasized about TSM but also appears in various princesses (Adversary/Fury, Beast, Den, Prisoner, Chapter 1 Princess' silent squinting contest). Thorn sees words as hollow, and finds meaning and truth in action. If P&tD is anything to go by, she's also generally willing to sit in silence for long stretches of time waiting for you to reply. It's an interesting contrast to the Narrator, who only has words to convince you.

She also seems struggle to communicate with words at times. Shifty finds words difficult because they can't capture the whole of what she wishes to say, and finds verbal descriptors of her name incapable of describing the depths of her being. And even beyond Shifty, the Soft Heart Princess will say that she prefers not having a name. She seems to have more success expressing herself through non-verbal forms of communication.

And in the face of it all, she's a very hopeful character. She has hope that she'll escape, that she can make amends with you, that things will turn out okay in the end, the hope that whatever choices you make will be the right choices. This hope is often what keeps her moving even in the most grim circumstances. Even chapters like the Wraith, where she's (justifiably) given up hope with you, she's still as driven as ever for her freedom. The chapters where she loses that hope entirely are some of the heaviest imo (Cage, Fury, even HEA), and all of these routes involve some sort of separation from her own identity & desires, showing how important that hope was to her sense of self.

Even though I've just listed a bunch of fairly consistent traits, that doesn't mean I think the vessels are all the same: far from it. Although these vessels have a shared starting point, from the first new choice each one has a different narrative, causing them to grow in wildly different directions.

Any one of the Princess' personality traits are theoretically malleable under the right circumstances, but... isn't the same true of us?

Across every hypothetical permutation of your life's story, every possible version of you, is there any one personality trait that you could guarantee was constant across all of them? If you had different formative experiences, different traumas, different relationships, a different community with a different culture and different values and paradigms, would you even be recognizable, let alone similar?

It makes me think of the field of epigenetics: even innate genes are expressed differently based on external environment and experiences. It's one possible response to the long-standing debate of nature vs. nurture. Your nature is set, but how it is expressed varies drastically based on your nurture.

(I've talked about this a bit before but I think STP would be interesting to view through the lens of nature vs. nurture, with its common adage of "it's in your/her nature", the way you & the Princess change based on your experiences, and how you can choose to break out of roles you were created to fill, but I've already rambled more than enough in this post aha)

The Princess, in all her multitudes, brings out the extremes of nurture. The ways she changes depending on her experiences are a reflection of how people change and develop differently depending on their life experiences. Even as she changes based on your perception, she also changes on her own, even in ways that surprise you.

There is no singular version of the Princess, like there is no singular version of any of us. She's growing and changing with every new experience in complicated and contradictory ways, just like we do.

And I think that's why she feels so real to me, why the game overwhelmingly succeeds in getting players to connect with her. Perhaps it makes her an unconventional character, but to me, it makes her much more like a person.

People

Who

Like

Narrator

Have

Daddy

Issues

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Original comic by Rasenth

You now heart lungs liver nerves manually

This is one of the reasons I LOVE stranger so much, the recontextualization of the situation. This is best shown when she talks about she being "The Stranger"

here she is accepting the undeniable fact that she will always be a stranger, but instead of fighting what happened to her she redefines what it means for her.

While something strange can mean something you aren't close with it can also mean something wonderful and new to discover and experience, thus by changing the meaning and not the fact she finds happines and meaning in what she is and has lived.

pd: I replayed an entire run(??) to take this screenshot and I've seen skeptic EOTN for the first time and I wanna comment some things about it

Thinking about how at the End of Everything, both the Soft and Harsh Princesses will express disinterest in being a god, and it is a declaration of their agency when they've largely been denied that agency in what they will become for the entire game. And so by not wanting to be a god, they are able to become their own person.

Thinking about how at the End of Everything, the Stranger says you shouldn't deny part of yourself if you say you dont want to be a god. And they were forced to become what is the most blatantly unpleasant [and likely painful] form of the Princess, but they do not resent you for it and instead have accepted their new condition and their godly nature as parts of them. Denial of the self does not negate it.

AN EMPIRE OF FRIGID NOTHING (SPECTRE)

"Which came first, the Chicken or the Egg?"

There are two major ways to interpret how Voice Hatching works:

The Voices Spawn. The manner in which the Decider behaves, the things they experience, and the trauma they endure influence the Voice hatched upon their death. Their personality, philosophy, and perspective are informed by what Quiet collectively has gone through. The Egg (previous iterations of the Decider) hatches into The Chicken (Voice).

The Voices Always Existed. The options provided to a player are reactions to their environment and circumstances, adulterated with the impulses and personality of nascent Voices waiting to hatch. The Chicken (Voice) lays The Egg (options the Decider picked in the previous Chapter).

There are more than two ways to interpret how Voices operate, and most you ask this question to will say something in-between these two black and white options. Ultimately, it's inarguable that a Voice is always influenced in some manner by events preceding their hatching. It is not that fact of influence the debate is centered on, but the interpretable extent. The fact is openly supported by the text.

Certain Voices will take credit for actions taken in the previous Chapter (ex: Cold claiming to have killed Damsel in Burned!Grey) or the previous life (ex: every Voice, bar Hero & Cheated, in Razor's Chapter IIIs), and many others will remember events long before they hatch (ex: Smitten recalling the entire narrative up to Chapter III - The Thorn, Cheated recalling everything that happens before Chapter III - The Wraith).

With this background information in mind, we can examine the events in Chapter I - The Hero and The Princess leading into Chapter II - The Spectre mindful of how specific choices made by the Decider or certain events they encounter may influence Voice of the Cold moving forward.

[FOR CONTEXT: [Take the blade] once at the cabin, hereby accepting the Narrator's premise and following His word.] Voice of the Hero - She’s so coldly beautiful… is she really a threat to the world?

The Narrator - You step forward, your grip tightening as you steel your resolve. The Narrator - You lunge forward without a moment’s hesitation. The Narrator - You feel flesh easily give way and look down to see your blade already sinking deep into her heart. Voice of the Hero - But is it over? Really over? - Of course it is. She’s dead.

The Narrator - You did kill someone. Greater good or not, something would be very wrong with you if you didn’t feel at least a little bad. But it was for the greater good. One of these days, that will sink in and help ease your guilty conscience.

The Narrator - You open the cabin door, ready to return to a world saved from certain doom.

The Narrator - Only, a world saved from certain doom isn’t what you find. Instead, what you find is nothing at all. Where a lush forest stood mere minutes ago, the only thing in front of you now is the vast emptiness of some place far away. Voice of the Hero - What… happened? The Narrator - Everyone is fine, it’s just that you and the cabin are now far away from them. Don’t worry. You’ll be safe here. This is good. Everyone is happy. You’ll be happy.

- I was kind of hoping I’d get a better ending for saving the world. The Narrator - This isn’t an ending. In fact, now that the Princess has been slain, endings are a thing of the past. No… this is the beginning of eternity. Your reward. The Narrator - This is what’s best for everyone. Trust me. The Narrator - Time passes. You can’t be sure if it’s days, or months, or years or even decades. It’s all a wonderful, boring blur. You’ve never been happier.

Voice of the Hero - Pst! Hey! We’re not just going to stay here forever right? Voice of the Hero - Are we really happy, or is He just telling us that we are? - Hmm, okay maybe I’m not happy. And I’m not just saying that because you’re the last person I talked to. Voice of the Hero - Good, because I have an idea to get us out of here. Though you’re probably not going to like it. Voice of the Hero - The blade. We can use the blade to get out of this.

The Narrator - Do you hear that? It wants to take this happiness away from you. It wants this wonderful place to end. Voice of the Hero - Do you not? There’s more for us to do, and the only way for us to do it is to take that blade and use it. The Narrator - Don’t you dare. - Anything to get out of this hell. Voice of the Hero - Thank you. The Narrator - I made this happy little place for you! Is this not a good enough reward for saving the world? An eternity of bliss? You… you ingrate! The Narrator - Fine. Whatever. For the first time since time stopped meaning anything, you throw open the door to the basement and walk down the stairs. The Narrator - You pick up the blade, you stab yourself, and you die. The Narrator - The end. Nice knowing you.

a set of directions from the Narrator, dutifully carried out by the Decider without the slightest hint of doubt, ignoring their conscience until faced with an utterly detestable "reward" for their compliance. critically, the timelessness perceived in that moment between opening the door to stare into the abyss and slaying oneself to be rid of the stagnation is so dilated in Quiet's perception that the Princess's corpse is reduced to a skeleton by the time the Decider plucks the Pristine Blade from its ribcage.

i could commentate further on this, or i could include one particularly noteworthy dialogue screenshot ---

- (Explore) Wouldn’t ‘using’ the blade… you know, kill us? Wouldn’t we be dead? The Narrator - How astute. You’re absolutely correct. Using the blade to kill yourself would kill you and you shouldn’t do it. Voice of the Hero - In a sense, we’d die, but looking at things from another angle, are we even really alive anymore? This place… it’s nothing! It’s absolutely nothing. It’s just the same thing, constantly, forever. Voice of the Hero - I know this is out there, but trust me. I know using the blade will work.

--- and let Cold speak for himself on the matter:

[FOR CONTEXT: in response to the Narrator saying we're only here because we died, which probably only happened because we didn't listen to Him] Voice of the Cold - Oh, we listened to you plenty. We slew the Princess, just like you asked us to. And then you locked us away in an empty void for eternity. So we slew ourselves, too.

[FOR CONTEXT: in response to the Narrator asking what would've happened to the world we left behind had we failed to slay the Princess] Voice of the Cold - It doesn’t matter, because we didn’t fail to slay her, and if she’s really back, which I doubt, it’ll be just as easy to do it again. But after that nasty trick you pulled on us, maybe she’s not the only one around here in need of slaying.

[FOR CONTEXT: in the cabin with Spectre, talking to the Narrator about the ghost-Princess after having talked to Him previously in the woods about the looping] The Narrator - What do you mean, ‘after’? Voice of the Cold - You already know what we mean, don’t you? So why don’t you go ahead and tell us? Are you going to try and lock us away in a timeless void again? Because I didn’t much care for that. The Narrator - I’m not going to lock you anywhere. Voice of the Cold - What an interesting choice of emphasis.

- (Explore) If anything, the world ended after I slew her. When I tried to leave, everything was gone. Voice of the Hero - That’s a good point. How do we know we didn’t have things backwards? Maybe slaying the Princess was what ended the world, not the other way around. Voice of the Cold - Yes, maybe this whole thing was a trick to get us to end the world. And now we get to go through the whole charade again wholly aware of what’s waiting for us at the end. Voice of the Cold - But that’s assuming she’s alive in that cabin. We did kill her, after all.

Voice of the Cold - This is boring. He’s clearly not interested in talking, so let’s just do as He says and maybe He’ll stop bothering us.

Cold is interesting because, as I'll point out later (both in this analysis and whenever i seek out Cold's other appearances), you need to read between the lines and in the negative spaces quite often to gauge what he's thinking. here, though, back in the woods again, Cold's an open book. "we listened to you and you locked us in an empty void for eternity. i really didn't care for that. it was a 'nasty trick.' we slew ourselves." note that Cold isn't expressing regret or remorse for anything that happened. he doesn't feel guilty about [Slaying the Princess], and he's outright convinced we're capable of doing it again. note twice, though, that Cold doesn't think we need to. he's fully convinced that her death sticks, even if ours didn't. he isn't readying up, either. it's just a job to him. (Something he was asked to do. a task, some dirty work. he holds no real opinion on the act of [Slaying the Princess], not here, and not now.) A job that, as he's seen, has no good rewards. In fact, the end result of completing this task is not something he wants at all. But he also really, really, really wants the Narrator to shut up, and trying to talk to Him isn't getting anything done.

So... English-speaking dog man fans. How do you pronounce "Petey" is It like "pity" or "petty" or something else?

something i’m fascinated by creatively is the negative space of game design. how just the knowledge that a mechanic or story path exists can fundamentally change your relationship to the work even if you never experience it directly. bad endings that most people don’t get. characters in multiplayer games that dictate the meta despite never being played. a hundred secrets in a game where most players will only find five. games are the only medium where this kind of non-content can haunt and infect everything else and i love them for that

An early Halloween cartoon for Guardian Books

OK, so. The top picture might be a reference to an old religious statue that was made because of a "divine dream" a nun had where she said that an angel entered her room and started piercing her with his lance, but instead of pain she felt pleasure and the faster he went the better she felt until It reached a clímax and she felt a sensation that she "didn't ever want It to stop" summary: a nun had a wet dream and confused It with a religious experience.

idk just a little conversation(maxwil didn’t show up but there were references to them

The machine is fascinated

OMG GUYSSSSSS!!!! IS THAT THE PRETTIEST GIRL ON SCHOOL!?!??!!😯😯😯😯😯

The girls’ time💖

YES I Will be rebloging ALL the art of this artist I just found.

:)

It's for Valentine's Day

Well god did WRONG and he's a coward an BOOOORING

God didn’t put Cold and Contrarian in a room together because the room would have exploded

I would like to point out that as cold says in the fury he also will never make you do anything. And in the princess and the dragon he also expreses that he prefered having you around to mediate

Thinking about how much Hero loves LQT

He is the only voice that never tries to take control (I dont remeber if Hunted ever tries either but regardless) and even if he doesnt agree with your choices he backs you up no matter what

The only time he intervines is if the other voices arent respecting your decisions (Skeptic and Para stopping you from throwing the blade in the cage and Hero trying to fight them, trying to stop Broken and Smitten from killing you) or if you are not there (In the princess and the dragon he intervines in Opportunist plan)

And even if you are cruel to the voices when you reach the mirror and taunt them with their deaths, Hero will still help you reach shiftys heart and back you up in any decision you make even if he is still mad at you

Hero really fucking loves TLQ no matter what and that makes me so sad :((

Slay the Princess: a summary

I LOVE this three games (even if I just Talk about stp)

no caption

He's the hero and the princess and the princess and the dragon

CONTRARIAN MY GUY!!!!!!

I would like to think that in the original route contrarian would be so proud of the princess for throwing the blade

Contrarian in PaTD!

This was one of many reddit requests!

I don't even- I can't- WHAT DOES THIS MEAN????????

did i ever post this

Looks like I'll be dying of the worst sickness of all, HETEROSEXUALITY /j

First thing you see after you zoom in is how you die

How you dying 👀

Uhh, here, a template

Original meme below

I also don't understand what the f*ck he means by "They always do in the end"

Hiiii these Tower/Cold parallels haunt me!!

You can tell Tower she's meant to destroy the world, and she's like, "Yeah, absolutely, you're so right." And in Tower Fury, the Princess calls you nothing, and Cold is like "no, wait, that's true." It's just so !!!!!

Cold and Tower are not allowed to meet. Otherwise, they'd immediately figure out their exact divine natures XD

I'm also thinking about Cold's "Boohoo, it's just a body." And Apotheosis going."Your victory remains in the physical world while I am beyond." (Not direct qoutes)

My first thought was that Cold is like TLQ version of Wild, bc she's the most Shifty-y and he's the most LQ-y but he's also very Tower/Apotheosis adjacent; and while this may not be the version of Fury he felt something with, shes still Fury, and he said Fury was like him and felt something when we stabbed her.

I love how every character is a foil and mirror of at least 3 different characters. It makes analyzing them so much fun

I think they're silly. I'm rotating them in my brain together

Bonus points:

Princess gets stabbed by nothing after being forcefully removed from godhood. I wounder what exactly she understood. I think she realized that you're equal and opposite here (or in short, you're her partner god), but that's just me. The "But... I'm going to be okay, right?" I think it might bc she knows this isn't actually over, that she's not over, and maybe bc she recognizes the nothing around her as you

Also, "They always do in the end." The FUCK do you mean by that Cold????

Ia am Aimar, god of the princess

That's... predictable

I am Arran, god of the most important thing

EDIT: if y'all don’t wanna use your name use your username