original thief series basso & garrett :)
ngl, it's about quality over quantity for me. an npc can have a total of three minutes of screen time, but if they have a cool name, they can live rent free in my head and I'll spend several hours trying to decipher drawable features from a blurry screenshot of pixels
there is a vague hint of a story here, and that's because every time I try to play thi4f, I get incredibly frustrated with how Not Fun the game play is. like, is the story good? well. but it has a PLAGUE. that should've given it instant 'I'll replay this once a year' status in my heart, but the game play sucks so bad that I've never finished it. I can't believe Not Fun gameplay beat out my obsession with narrative plagues.
anyway, the idea is basically if the original era had a game with a plague centric narrative and some other stuff I liked out of thi4f thrown into a narrative blender, with a heavy dash of horror thrown in because some parts of the thief games were scarier to me than entire dedicated horror genre games.
⭐ places I’m at! bsky / pixiv / pillowfort /cohost / cara.app
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Actually if we want to talk about the lilienne/joyce ship I would like to bring up that it plays into the bourgeois woman’s fantasy of class dynamics in a relationship (à la lady chatterley), as well as the upper/middle class idea that their identity as women supersedes said class dynamics (and therefore they believe themselves to be in no position to oppress women of the working class) in a way that lends itself to reactionary movements like TERF ideology. As someone who lives in the uk and has been heavily affected by said ideology, joyce actually put me on high alert just by her voice and appearance.
I think it’s a mistake not to acknowledge that joyce is heavily thatcherite coded (the hair, the posh accent etc) especially when compared to lilienne who plays into the working class british woman archetype: she sounds welsh (considered a ‘lower’ accent), has young children, is a widower etc. It is fairly common to see the ‘confident mum who has to single-handedly support her young family’ in soap operas and other media, and she definitely plays into that stereotype.
Anyway, the ship is on the surface level a fun one, but let’s not overlook the framing as a one-sided and rather sinister set-up.
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arc 4/season 2 of re:zero really did have a bunch of sets of siblings with lots of focus on them. it seemed to be a bit of a recurring theme for the season. family bonds as a whole were really important, especially where the backstory was concerned, but in contrast to that, the sibling relationships seemed to be about moving each other forward. in different ways though...
like, you have frederica and garfiel. they're estranged half-siblings, but frederica still obviously cares so much about her little brother. the reason she left was because she wanted to make a place for him and the rest of the people in the sanctuary in the outside world. garfiel was stuck inside the past, fearing the outside world for what happened to their mother. but when he finally faces his trial again, it's the memory of his sister that gives him the motivation to move forward.
similarly, in emilia's second trial, it's her conversation with archi that enables her to face the present for what it is. even though trial archi seemed to be pushing her towards the world of the trial itself, that's exactly what reinforces her will. with her memory of the real archi, she calls him "big brother" for the first time, and she thanks him for always being worried about her. the sad thing is, unlike all of the other sibling duos, archi has already been dead for a long time. but even then, like we saw in the first trial, he gave his life because he wanted emilia to keep moving forward.
and in otto's backstory too... he spent most of his childhood completely unable to interact with the world around him. the constant noise was too overwhelming, to the point that he couldn't actually hear anything else. he had no way to understand or communicate his feelings. and though his parents did their best to understand him, he was still stuck in this state. it wasn't until oslo decided to teach him how to write that he was finally able to express himself. despite the fact that it was harder for otto than other kids, he finally managed his first real message to his family, "thank you for everything." and with that, he cried for the first time since was born, and was able to move forward again.
even the antagonists this arc are siblings. meili and elsa dont get as much focus into their relationship as the others (not for this arc at least), but one very obvious development is that elsa has someone she cares about. elsa "bowl hunter" granhiert, a serial killer/assassin/vampire who takes great pleasure in watching people die, and tearing out their organs, has a person she cares about. this is a humanizing trait for her, and that's on purpose. loving meili literally makes her "more" human. someone that she's also willing to give up her life for. and later on, in arc 6, we see just how much elsa's death impacted meili and how she hasn't been able to move forward since that day.
this theme is even more noticeable in the negatives too. in rem and ram's case, who have already been set up as a matching set all the way back in arc 2. they're identical twins, they've loved each other literally since they were born. ram awoke her powers as a newborn just to save her crying sister. they share a deep and powerful bond. but... what the hell happens when that goes away? because rem had her name and memories eaten, ram forgets she ever had a sister. her character digresses, her entire world is now centered on roswaal, she's more devoted to him than she was before. without her sister, ram moves backwards.
and of course, there's the sibling duo that this entire season centers around- subaru and beatrice. i've talked before about how subaru's relationship with echidna and roswaal is like a foil for his relationship with his actual parents. subaru has been raised living in the shadow of his father, but his actual dad never once forced him into it- he encourages his son to stand on his own and be his own person. roswaal is the opposite, he corners subaru in an attempt to make him a mini roswaal. subaru's mother was always watched him closely, but never made his choices for him. echidna is the opposite, where she wants to manipulate and control subaru's every action to satiate her own goals and desires.
but echidna is also beatrice's actual mother, which places beatrice in the role of subaru's sister in his fucked up found family echidna had created. but beatrice and subaru were never forced together, they chose each other. beatrice was left alone in a library for 400 years, abandoned by her mother and left to wait for a person who would never truly come (who never truly existed). she has been stuck for so long, unable to break her chains. but the action that finally does free her from this stasis is when subaru asks her to choose him. the only way for them to escape this "family" and move forward was for them to choose each other.
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"do we still love each other?" regulus asked, a bitter irony in the question, and he was pretty sure he knew the answer. they were sitting in the common room and dorcas was glaring at him, glaring at the skulled serpent on his arm, glaring at the boy she had grown to resent.
he remembered the person used to be, and how dorcas had comforted him during nights when neither of them could sleep. he remembered how she shared her cigarettes with him, and he remembered how he was drowning and she pulled him out, giving him her lungs so he could breathe.
he remembered the night in which they laid in his dorm and she told him all her secrets. she told him what she was planning to do after she graduated. she didn't want to fight but she would, she would fight if that meant that the generation after them would be safe, if that meant that they would have a better future, if that meant they would get to live, instead of just having to get through their mundane existence.
she had confided in him, and he was a traitor. the betrayal was etched in his arm, aching, black and of a deadly. regulus' future. did he want it? he didn't know; he wanted the glory, he wanted to be important, to be worthy of his name, but did he want to lose everything in order to achieve that.
"no," dorcas said, and there was a certain anger in her voice that the regulus had never seen before. "i stopped loving you the second i realized that you would never be a good person."
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assuming you've read tsc, what are ur thoughts?
mixed feelings, anon!
on the one hand, tsc is just another confirmation that nora is a talented writer - i think the dialogue especially is where she really excels. the reading experience was overall very fun, i did enjoy seeing my faves again. neil is an icon, obviously. the culture clash between jean and the trojans was Comedy Gold. and it was interesting to see an exploration of a different trauma response than we've seen in aftg in jean.
on the other hand, i feel like jean's story in tsc mirrors neil's story in aftg - a troubled youth joins an exy team where he will make new friends and get better mentally - but is like. a simplified and less compelling version of that. it's good that jean is his own character, i don't need him to be a copy of neil, but i gotta say - neil's cameo appearances totally stole the show and made me wonder why i wasn't reading a book about him instead. however, it's all the other characters who were the real problem - it felt like i'm reading a version of aftg where a less fun iteration of neil joins an exy team consisting just of the upperclassmen and nicky hemmick which uhhh,, if you've read some of my old posts you know how i feel about him so there was no chance in hell i'd like cat alvarez and her whole shtick. the foxes felt good for the soul bc there was a balance between the upperclassmen's and the monsters' type of care for neil - and crucially neil chose the latter group to be his close circle, among other things, bc he felt they could understand him better. by constrast, jean is alone with the trojans who don't give any credibility to his claims that they just can't understand what he went through, don't respect his right to keep his trauma private and just keep trying to force his "recovery". aftg felt like a bunch of freaks with various but equally fascinating issues put in close quarters and you watch them sometimes butt heads, sometimes uplift each other in the most unexpected ways. tsc however felt like a bunch of normies bullying a traumatized kid - so basically one of those obnoxious fics where the upperclassmen are all in neil and andrew's business.
jean's bisexuality was a double-edged sword too: on the one hand, i felt very smug reading about how his attraction works bc 1) it's so obviously different from neil and 2) wow turns out years of psychological, physical and sexual abuse do not in fact take away your sexuality! le gasp! surprised fucking pikachu!! crazy how through all of this jean is still bi. the human spirit is unbreakable. (unless your mom hits you for kissing a girl, then it's breakable). so i did feel vindicated but at the same time this was not relatable to the point that i can't see myself getting invested in jean and jeremy's developing relationship. nothing is more of a turn off for me in fictional romances than when both of them are immediately attracted to each other and let the reader know in no uncertain terms. where are the mind games? where are the intricate rituals? it feels like a lazy shortcut. but good for them, i guess?
sooo idk. i didn't hate tsc by any means but i'm sad i didn't enjoy it as much as my mutuals😭
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