Eyehat - Hello, I Exist

Im in literal tearsss. Was watching the newest digital circus episode and there's this moment where Caine calls them his "meowing milkmaids" I wondered how they translated it to polish since it's my language and then i found out and cried

They dance together, make puns together, eat people together

I want what they have

Worn-out Bridge

Happy Birthday to Caine's voice actor Alex!! 🥳🎉✨

I asked the most talented and amazing Caine enjoyers I know to collaborate on this great Comic!! I had a blast working with you lovely people! I couldn't be happier!!

It's also a gift to myself since it's also my birthday! 🤭❤️

Very special thanks to: @floating_megane (Twitter ) @sm-baby and @endomentendo

Oh yeah baby, animations.

The idea of Harry being like “Kim look at this” and never showing it to him is so funny to me idk why

I thought the idea was that the Construct is layered: shifty, quiet, shifty, quiet. Cabin interior, cabin exterior, woods, textured nothing.

Hence why the cabin from the outside always looks the same

You know, I love all the analyses the fandom is making about the Pristine Cut and Slay the Princess in general, but I haven't seen a lot of people talk about the nature of the Construct. Sure, we all know that the Narrator created it somehow to contain both the Long Quiet and the Shifting Mound, but the actual “fabric” of the Construct is these two gods.  An attentive eye might catch very early in a playthrough that the trees, the sky, the ground - they’re all shades of dark grey and black, with a feathery texture that is unquestionably Quiet. The new Apotheosis showcases this very well. 

But the cabin is different. It’s all light grey and white - Shifty’s colors. I believe that the most notable way this is shown is during our encounters with Shifty’s incomplete form. When we are “at the cabin”, all we can see is her mass of hands and the vessel we brought her - which implies that Shifty is the cabin itself.

And that’s fascinating to me, because the cabin is also, by the Narrator’s design, her own prison. Just as he establishes in his opening monologue that we are on a path in the woods, he also cleverly says that the Princess is within that cabin, and that if she escapes it, the world ends. And, except in the Wild, none of these two statements are ever refuted by either the Hero or the Princess, because to do so is to unravel the very fabric of their false reality.

So even though it seems like the cabin should bend to the Princess’ will, being quite literally her domain, it remains her prison in every other route.

In many Chapter 2’s, but especially in the Nightmare and the Beast, the Princess emphasizes the fact that the cabin will not let her leave - very ironic, since we’ve just seen how the interior of the cabin has been completely reshaped by the Princess’ influence.

I love this line from the Beast, because you can so clearly see how the Narrator’s beliefs have bled through the Construct. I was reminded of it the first time I played through the Princess and the Dragon, because the repetition of “this is what you deserve”, as other people pointed out, seems very much like something the Narrator would tell her.

Notably, however, the Princess can escape the cabin when you are accompanying her. On a meta-narrative level, this makes complete sense: the characters can only escape the cycle of violence they are trapped in when they work together. But within the narrative of the game, this doesn’t seem to fit with the rest of the Construct’s rules. The Narrator would never allow such a thing if he could help it, so this must be Shifty’s influence coming through, right?

And this reminds me of another two routes, the ones I’ve seen people describe as the most genre-savvy ones: the Damsel and the Tower.

I'm not sure if this voice line was cut in the final game or if I just couldn't find it when I went looking for the screenshots, but I'm pretty sure that at some point in the Damsel route, the Voice of the Hero asks why the Princess hasn’t escaped already if her shackle is so loose, and Smitten says that “we’ve yet to present her with her freedom”.

On a surface level, this seems like a pretty arrogant, even demeaning line, a trend in this chapter that robs the Damsel of her agency. On a meta-narrative level, this is commenting on how the “damsel in distress” archetype is often a shell of a character that simply exists to reward the “hero”. But I also think this hints at how the Princess, either subconsciously or by the Narrator’s influence, doesn’t believe that it’s possible for her to escape alone - and therefore, she can’t.

Tower, arguably the vessel most aware of the extent of her powers, is even clearer when she tells us that she could easily break her chains and escape the cabin - and she does so in the Apotheosis - but that’s not the story she wants to tell. As much as they yearn for freedom, all the Princesses, by their very nature as beings of perception, want to be perceived, to connect with someone… especially with the Hero, of course.

(this line makes me go feral every time btw, it's so simple and yet so effective -)

Anyway, this was a very long winded way of saying that the Narrator somehow managed to make the Shifting Mound’s “body” into her own prison (which is insane if you think about it) and she can only be freed with the Long Quiet’s help. I’m not sure if this is like, super obvious, but I still wanted to talk about it, soooo if anyone wants to add to this, I'd love to discuss more!