a doctor turned serial killer turned doctor again, an actor who paints, a gang leader, a mining baron, and a vice overseer walk into the room.
oh yeah and they lead karnaca now.
dishonored 2 is my fav game but i think it's mid, story-wise. here's why dh1 works and why dh2's overarching story sorta misses
tl;dr: story integration is critical for gameplay that offers audience payoff, but emily's personal arc from dishonor to honor is inconsistently demonstrated in the story, and is not an interactive part of the gameplay.
essay/long version under cut >
recap: what's dishonored's deal
[skip if you want]
dh1 is an underdog story: corvo is an honorable man swept up in the machinations of a callous city, so his canonical ending being 'this child will rule over an empire' isn't about the child's rule but rather about corvo's reputation being restored in a more hopeful city, due to his & the player's rejection of the violent connotations of the tagline 'revenge solves everything.'
similarly, in dh1 DLCs, daud's story arc is that of an anti-hero: a dishonorable man who realises too late he has done irreparable harm. he sees the error of his ways after a single monumental death, and eventually a single life redeems him when he/the player stepped in to circumvent a terrible fate for a child, enabling her to rule unfettered.
daud & corvo come to a satisfying conclusion within the extent of their narrative arcs. it doesn't matter that a child on a throne isn't really a fix for a decaying empire - the player's actions throughout the city of dunwall was what mattered - and these stories could be framed as parables. in that sense, young emily as a ruler is a metaphor for a hopeful future for the city & empire.
dishonored 1 & its DLCs are also great examples of storytelling with perfectly integrated gameplay - you, the player, worked towards the outcome that redeemed the protagonists.
in your efforts to save young emily, you either achieved a good outcome (corvo) or prevented a worse outcome (daud).
bringing us to dh2 -
what's emily's arc
emily's arc is a coming of age: we're introduced to a reigning empress who questions her role & skillset ("am i the empress my mother wanted me to be?"), then her titular fall from grace occurs. from there, she learns to reject the violent, selfish connotations in 'take back whats yours' tagline (a la daud & corvo!) while rediscovering why her rule is critical to the empire.
emily's rule is no longer metaphorical, but:
a literal thing for audience assessment (is emily a good ruler?) AND
the crux of her storyline.
at the beginning of dh2, emily is introduced as a disengaged leader ("i wish i could just run away from all this;" "i dont know if whether i should sail to the opposite side of the world, or have everyone around me executed"). the antihero has a precedent for the dishonored series in daud, so it's not at first glance an issue*, however, the fact that emily has ruled poorly reframes corvo & daud's endings as being less than ideal (a moralistic retcon) *we could talk here about how ready an audience was in 2016 for a flawed women as a protagonist, hell, even in 2023,,,
throwback to the beginning of this essay when i said:
'this child will rule over an empire' isn't about the child's rule but rather about corvo's reputation
emily's story arc, unlike for daud & corvo, is literally about the quality of her rule. we're no longer in metaphor territory (ironic phrase): a parable-style ending doesn't work.
does emily become a good ruler
we know she becomes a good ruler because the game says so. it is narrated to the audience via a (literal) word of god in the space of 30 seconds, after the final boss. the outsider tells us that emily becomes known as Just & Clever.
drawing a distinction here - this narration is not the same as the player actively being involved.
the player does not throughout the game become aware that emily has made political allies. during the game, she doesn't talk to these characters about saving karnaca or being a better ruler to the empire (there's a few lines might imply it, but you need to be actively looking and being careful to wait for every voice line. it's a far cry from daud & corvo's fight to save emily being unmissable - even though daud doesn't know at the beginning that's the goal).
how does the game show it
you can coincidentally not kill most of your subjects and never be aware that emily is looking to restore karnaca by means of instating a council - it's never brought up. it *couldn't* be brought up, because that council serves under the fake duke (armando), who is the last person she speaks to before she leaves for dunwall. its her suggestion that he rules karnaca, but armando's condition is that he will rule as he sees fit.
to back up a bit, emily's canonical method of restoring karnaca is by banding together key allies - hypatia, stilton, [byrne &or paolo], pastor, under a council beneath the duke's body double. they are passionate people who would each individually make worthwhile advisors, but if you think about those characters sitting at a table trying to reach an agreement, it feels like an assortment of people that emily didn't kill along the way and doesn't feel organic (up to interpretation). it's not stated if emily herself banded this council together, but logically she must have (worth a mention these are mostly characters that you as the player had reasonable rationale to kill during a high chaos run, except pastor). the underlying concept may be that karnaca's power is returned to its people - which is interesting given that the monarchy remains and armando's decision is final.
this overarching solution could also be taken as a critique to dh1's 'put your kid on the throne,' which is another reason its worthwhile looking at how emily was shown to be a better leader. obviously my point isn't that her solution was bad given the circumstance, but i mean she has very little agency here in all. if emily was shown to be more controlling as a leader, this could be interpreted as character growth, but that's not the case.
coming of age
how do you learn & grow when you can't specify your failings? emily doesn't really touch on her shortcomings as an empress. she non-specifically worries delilah makes a better empress than her. it's hard to argue her worries are meaningful when someone good at their job will still worry when lives are in the balance.
emily's best 'aha' moments (eg. crack in the slab comment about gaining perspective) are consistently undercut by a conversation with sokolov or meagan afterwards in which she demonstrates she hasn't learned anything (before the grand palace, emily condemns 'toadies sucking up to me' and is reminded by meagan that she's part of the problem). the story is confused about what it's trying to say about emily's progress, and when she's meant to show progress, if she was meant to show any progress at all. it could be argued that emily was never even a bad ruler, she had just been fed misinformation about the problems in karnaca and been the victim of slander by her political enemies. the game doesn't make this clear - it's easier to argue that the opposite is true given that her allies only have criticism.
worth a mention here that the heart quotes about armando - a fake ruler - interestingly mirror emily's character concerns. "see how he sighs? his life is a gilded cage." but this essay is already long.
while corvo & daud spend their games (and through the gameplay) 'earning' their redemption, emily is being led by the NPCs around her to a conclusion and a fix for the political mess in karnaca: meagan & sokolov guide emily to her missions, and there's no recurring quest for emily to investigate possible allies. she is able to gather the people she hasn't killed to herself by manner of... post-game narration. during the game, she's primarily concerned with getting her throne back.
an easy fix: if there had been less dialogue & narrative focus on emily's failings perhaps the ending would have felt more satisfying. it has the feel of cut content, but i don't know what was cut to be able to comment on it.
so what went wrong?
i can't help but wonder if arkane were worried they would lose a certain demographic if corvo wasn't playable (may have been deemed too much of a risk - 2013 was a different time), and so they had to take out story elements that were unique to emily's growth as a character/empress, because the usual storyline/gameplay integration had to work for both characters - in other words, gameplay that made sense for both corvo & emily was prioritised before emily's story & character development. which is a silly problem to have in a game that added character voices for the sake of improving characterisation - maybe emily's tale would have felt more akin to a parable if she had less lines that betrayed her ignorance (to the disdain of those around her).
i wish more care had been taken with emily's story. most players will never really notice the large variety of different endings - they're not particularly satisfying in and of themselves.
it's ironic that one of Emily's complaints is about her father/protector being overbearing, when his (parallel universe) presence in the gameplay may be one of the reasons her own narrative arc falls flat.
what are the upsides here
changing tune from what didn't work - don't you think the concept is fantastic? it's a great idea overall - can you imagine if the coming of age storyline was better integrated into the game?
it's valuable to talk about the integration of story and gameplay and characterisation from a craft perspective. dh2 genuinely is my favourite game - it's beautiful, the imm-sim design philosophy makes the world a delight to explore, the combat gives endless creative options for tackling any fight, there is a far greater diversity of cast in an in-text canonical way. there's loads to love!
i love emily as a dodgy leader, to me it adds interesting dimensionality to the outsider's narrations - of course in dunwall there's never a neat happily ever after! emily, like the outsider, both work well as characters who hold ultimate power but aren't necessarily worthy of it - and this makes perfect sense for the dishonored universe's morality & critiques of power. however, within this grey area there's still plenty of room for a satisfying ending, which isn't what we ended up with, whatever the true reason for that was. and also, damn, emily's a marked assassin empress, if she can't lead well then who can?
while dh1 was criticised for its narrative simplicity, dh2 in contrast and in hindsight shows us that simplicity isn't so bad - there's satisfaction in gameplay achieves a clear, simple narrative goal.
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drop the sanderson thoughts lmao. did you read the wired article everyone’s talking about?
yes i did read the wired article. it was weird? fine? i agree with the take that the writer thought it would be more interesting, and then had to come up with a story on a deadline.
tbh i feel like the more interesting story is that mormonism is a settler colonialist monument to white cisheteropatriarchy, and that really shows in sanderson's writing. stormlight especially really demonstrates this. it's structured to be all about oppression (darkeyes, the singers) but sanderson's narrative continually prioritizes the oppressors. that's so mormon! the book of mormon is so racist and present-day mormonism is so invested in whiteness and imperialism, esp with sending missionaries to convert people of color in the global south.
and like... we talk all the time about how sanderson is great at writing queer characters when he's not trying to. how his romances really fall flat. to me it's all connected to mormonism. he's talked before about how he doesn't really have emotional ups and downs, and the article kind of touches on this too. mormonism is such a passion-less religion. if you've ever been in a mormon church building, they're the most boring buildings alive. there's a complete lack of culture, art, life. mormonism is designed to produce nuclear family clones who have the same opinions and have a very "nice" society.
i'm rambling, and i have lots more thoughts, but i just think the way sanderson writes romance really positions it as a Thing You Put In A Narrative and not, like, a messy human experience. and that's so mormon. you serve a mission for the church as a late teen and then come back and are expected to marry. marriage is one of the essential Steps toward exaltation.
obviously the other really interesting thing is that the magic of the cosmere tbh is extremely mormon in a way I find very interesting and sometimes like! one of the key doctrines of mormonism is that if you live your life perfectly, you'll become a god and create your own worlds the same way god did with us. it's a complicated and fascinating idea, and i don't think it's terribly difficult to make the connection to whiteness and the settler fantasy of it all. but in the cosmere, humans become gods. gods are bound by rules (also important in mormon theology). ruin and preservation created scadrial and built it and humans from scratch.
idk i just feel like if you've read sanderson's work (which the wired writer says he did) and have a solid understanding of mormonism, there's a much richer and more interesting story to tell than what that article gave. it barely scratched the surface imo.
disclaimer, i say all this as a white queer exmormon who has lived in utah her whole life. i love lots of things about mormonism, and i can't separate my personal and family history from the church. it's defined my life up until the last couple of years, and that's the place i'm speaking from.
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Imagine if Stacey and Neil actually met in high school except they didn’t go to the same school: they met through Kid Chameleon.
One night, Scott brings Stacey to one of their shows and it just so happens that Stephanie (or Steph) brought Neil with her.
Since they were both the youngest people there (Neil’s 17, Stacey’s 16 till December), they decided to talk to each other and they hit it off.
Stacey also develops a bit of a crush on Neil and would always ask Scott if Steph was going to bring her brother with her again, as she wanted to see him and didn’t know if there was another way.
Then one morning, she discovers that they take the same TTC bus and from then on they talk before and after school and become sorta friends. At this point, Neil also starts developing a crush on her.
Things stayed like that for about two months until Neil and his mom moved places (as I agree with the headcanon that the Nordegraf siblings have divorced parents) so they would no longer take the same bus in the morning or after school. They still have Kid Chameleon shows to meet up and talk at right? Ha ha wrong cause at New Years, the famous break up between Scott and Envy happens which in turn, also breaks up the band.
That whole break up was the nail in the coffin that strained Neil and Stacey’s kinda friendship. They didn’t have the others phone number cause they were both too shy to ask and also cause they both kept forgetting.
There also wasn’t a whole ton of opportunities to ask either of their siblings for their phone numbers so they just gave up and went on with their lives.
But then why didn’t they recognize the other in the like three times there were in the same room together? Easy answer: Stacey was distracted by everything around her to even notice Neil, who in turn, was slowly disappearing into the crowd and fully did by the time it was Lisa’s going away dinner.
So when they see each other again properly at the Chaos Theater, something clicks and they fall back into where they once were two years ago. To them it felt like a decade, but no it was just two years. They catch up on what they missed in the others lives on the walk home.
After that these dorks start dating cause the feelings were still there, just buried deep, left dormant, and forgotten. They came back but slightly different as people change.
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