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bellshazes · 11 months

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dreaming up a syllabus for an imaginary course on metanarratives about gameplay, which i think would go something like:

unit 1: who do you think you are i am - auto-documentary & games

Vlogs and the Hyperreal, Folding Ideas

The Slow Death of Let's Play Videos, Meraki (to ~10:00)

World Record Progression: Mike Tyson, Summoning Salt

ROBLOX_OOF.mp3, hbomberguy

Life as a Bokoblin: A Zelda Nature Documentary, Monster Maze

optional: Braindump on the History of Let's Plays, slowbeef

unit 2: what like it's hard? - intro to challenge narratives

Chapter 26: Games as Narrative Play: Two Structures for Narrative Play, Rules of Play

A different kind of challenge run: Minimalist 100% (BOTW), Wolf Link

Surviving 100 Days on Just Dirt, Mogswamp

Can You Beat DARK SOULS III with Only Firebombs, the Backlogs

Is it Possible to Beat Super Mario 3D World while permanently crouching?, Ceave Gaming

The Pacifist Challenge - Beating Hollow Knight Without Collecting Soul [CHALLENGE] - Sample

optional: How to 100% Snowpeak Ruins in under 15 minutes, bewildebeest

unit 3: nelly you don't understand, i AM the narrative - form and function

The Future of Writing about Games, Jacob Geller

Can You Beat GRIME Without Weapons?, the Backlogs

Mushroom Kingdom Championships, Ceave Gaming

My Life as a Barber in Hitman 2, MinMax (Leo Vader)

MyHouse.WAD - Inside Doom's Most Terrifying Mod, PowerPak

optional: Mega Microvideos, Matthewmatosis

the theme and structure is mostly intended to introduce at least one critical or historically contextual work followed by examples of the type of narrative in question.

in unit 1, this is the idea of "How do people talk about their own experiences in the context of YouTube and playing video games?" across three rather different kinds of documentaries. unit 2 is intended to take that lens of who is telling what tale and dial in on challenge running, where i first noticed the way some videos turn the story of overcoming a challenge into its own narrative that is distinct from but related to the narrative events of the game itself. unit 3 circles back to the bigger picture with a variety of examples that, to me, are maximally metanarrative, the emergent story of the player-narrator now functionally replacing the game's embedded narrative.

bonus unit: broken narratives

Glitch & the Grotesque at the MLA, Sylvia Korman

Watching time loop movies to escape my time loop, Leo Vader

The Stanley Parable, Dark Souls, and Intended Play, Folding Ideas

Breaking Madden, Jon Bois

The TRUTH about the Pizzaplex in FNAF: Security Breach, AstralSpiff

this one is highly underdeveloped, but i'd love to work out something more robust building on randomizer challenges that produce intentionally bizarre, semi-ironic "lore," and bois-esque endeavors to break games so hard the story itself crumbles. but that's really out of scope so i'm just including the links to things i couldn't bear to get rid of. more rambling abt the challenge runs I chose under the cut.

Challenge runs represent one of the most obvious places to start, due to being extremely plentiful and having a hook that makes a "here's how I did X thing in Y video game" format almost unavoidable. Minimalist 100% is an underrated and sweet straightforward example that I mostly include as a baseline for reporting-out style narrative; here are the facts, here's what happened, this is the thing that it is. Mogswamp's 100 Days on Just Dirt is similar in style, but the physical measuring of days is a delightful and, more importantly, external narrative device.

Now oriented, we get a taste of Ceave Gaming's narrative approach to Mario challenges with the no-crouching run, and while we still aren't at the degree of player-characters being constructed for the narrative's sake, the spirited belief in crouching sets the stage for other rhetoric in more extreme cases we'll see later.

The Backlogs' entire body of work qualifies here, but GRIME is the strongest inspiration for putting this list together. I include the DS3 firebombs run because what was initially a factual description of how his wife's use of firebombs inspired him to play differently in the original DS1 firebombs run has developed into full-blown multi-game narrative arc with the Firebomb Goddess (his wife, who also voices the character) compelling his in-game character to achieve his destined quest. Grime takes that even further,

In-Game Documentaries

I include Life as a Bokoblin mostly as a contrast to My Life as a Barber - there is a level of fictionalization and roleplay involved in the Zelda in-game documentary that highlights exactly what I want to single out when I am talking about metanarrative, the story about a story.

#peter posts #mc meta #<- close enough #also i will add some context for the rest of the docus too since the summoning salt is on here for a VERY SPECIFIC REASON

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kdreamsound · 2 years

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#jindoggae #willyeom #mc meta #los #kanji #good is bad #1st mini album #2018 #khh #hip hop #s: downbeat #m: sorrow #songs #music #audio

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qqchurch · 1 year

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dungeon farming economy setting with a healer girl MC suffering crippling boredom due to her subclass being inefficient for the most effective farming parties so she's stuck guiding noobs over and over again on the upper levels

then she meets this absolutely unhinged berserker woman that's bleeding all over the place but damn she's good at fighting and it turns out she needs a healer that can work with her that isn't one of the pansy barrier healers that the meta teams want and noone wants a berserker because they're insane and get stronger the closer to death they are, which barrier healers can't help because they're designed for preventing damage and topping off whatever slips past their mitigation. MC's healer class is fucking awesome at sustain and keeping people from dying but all the meta parties use classes and equipment that rely on constantly being topped off, which she can't do because she mostly has beefy heals and defense buffs

so, seeing nothing else to do, MC and Zerker go dungeon diving and after a rocky start, they hit off immediately because MC is actually insanely fight-happy and just wants the rush of a good fight, while Zerker is partly a masochist and partly doing this as a coping mechanism

and thus they become badasses that get further down the dungeon than anyone else in recent history all through sheer gumption, spite, and a looooooot of hyperviolence

oh, and they have hot sloppy yuri sex, can't forget that

#is this anything #literally a shower idea lmao #could probably stand to add more chars but healer MC and zerker are the main pair #also most of the idea is lifted from the stamina/emnity metas in gbf lol #with the fact that stamina teams are the meta for auto farming #and those emnity(more dmg w lower hp) and garrison (more def w lower hp) teams are more common in more difficult raids #yuri dungeon divers

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archetypal-archivist · 11 months

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Lmaooo the poor people in charge of the QSMP plot must have an interesting time in the background as their job is to promote conflict so the players have something to react to. And you know what they get for their efforts?

Cellbit blasting through their insanely hard ARG in two weeks, Foolish and Aypierre skipping huge chunks of their puzzles through clever use of game mechanics, and everyone being so friendly and communication-oriented that any chance of internal conflict driving the plot is slim to nil because they keep talking about their problems and solving things maturely and with good faith. Interpersonal disputes get resolved in like, a few days! Tops!

Even the egg event has had a wrench thrown into it because people fell so in love with the eggs that they are just part of the server now. Pomme has two lives and that’s just a thing. They can’t kill her, lol, everyone is working too hard and with too much cohesiveness to allow anything to happen. Code monster sweeps in and it’s boom, just an immediate 1 v 7.

I love the Q-mmunication smp with all my heart but man, from an admin perspective, they must be constantly screaming.

#qsmp #mc #meta

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rabbitprincessthief · 1 year

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gog i still can't get over minish cap vaati's Everything. He is So Fucking Stupid (affectionate)

Like. This guy's establishing character moment is, in order:

he's introduced as having won an entire tournament to get to touch a magic chest and get a cool sword, which was the prize for said tournament

turns around and does a goddamn evil soliloquy TEN FEET AWAY FROM THE GUARDS who were about to hand him his macguffin on a platter

(like this man fucks up his own horribly planned daylight heist because he cannot keep a lid on the dramatics for FIVE FUCKING MINUTES, IN PUBLIC)

(THE BAR WAS ON THE FLOOR VAATI, FUCKING GANONDORF PLAYS THE PIPE ORGAN FOR HIS OWN BOSS INTRO AND HE STILL KNOWS BETTER THAN THIS SHIT)

proceeds to fight the guards (it is, admittedly, a curbstomp for him, but it still clearly wasn't his plan, because otherwise why bother with the tournament)

gloats evilly

opens chest, unleashing a whole bunch of monsters

exposits out loud about Zelda's powers like a nerd while she is actively charging up her magic powers to kick his ass

RECOGNIZES and IDENTIFIES said magic as the special power carried by the female royal line

completely fails to recognize it as the light force he is currently trying to get his hands on (he spends like 99% of the game not figuring this out.)

petrifies her

(i have no idea if link could have deflected this spell if he had managed to get the right angle with his shield but i like to think somewhere there is a very short and very funny alternate timeline where it happens)

(more importantly: no part of vaati's original presumed plan would have involved doing this. he 100% created this situation for himself by being an dramatic idiot and picking a fight for no good reason.)

looks in the chest

there's no light force

considering his stated goals he might be as confused as you are about the monsters tbh

uhhh

evil laugh

teleports the fuck out

He then proceeds to spend the rest of the game trying to figure out where the light force is and ends up having to wait for Ezlo and Link to figure it out first because he was, as far as I can tell, GENUINELY stuck on this part. He fucking kidnaps and impersonates the King, not for access to Zelda, but to… send guards to go look for the Light Force, presumably because he was either running out of ideas or genuinely thought that would work.

None of the guards even had any idea what he was talking about. He's not even good at impersonating the King. He's already sent like twenty people to the dungeon by the time you get there and it hasn't even been a week. Somehow the game spins this as a cunning plan and clever manipulation or something.

(Meanwhile the guards are just. Poking around in random bushes and shit hoping to find the light force. One of them asks you what you think it might look like.)

Zelda is literally right next to the throne and Vaati does not figure it out until you find an actual honest-to-goodness LORE TABLET spelling out that the Light Force is Stored in the Zelda, at which point he's like "ahahaha you've done my work for me this was definitely my plan all along" and takes over the castle and throws a bunch of monsters at you to stall for time while he figures out how to extract the force from her. Somehow he still doesn't think to actually lock the fucking door.

#vaati #minish cap #loz #mc #he's my stupid little squeak squeak and i love him #meta #op #sorry this got long but i have So Many Words about this little bastard #i think he's a really fun foil to ganondorf tbh -#ganondorf looks like a brute force guy but in practice tends largely toward manipulating and long cons and cunning #the appearance of dumb muscle but is actually refined and clever and skilled while also still being built like a brick wall #vaati looks like a classic scheming squishy wizard guy but actually is just cheating and does almost all his nonsense very directly #and his plans tend to be either Do X / ??? / Profit stuff or barely exist at all #to the point where og four swords is gated primarily by your ability to convince great fairies to help you rather than vaati stopping you #ganondorf is a guy given power who wants a magic wish granting artefact #vaati is a guy given a magic wish-granting artefact who decides he wants more power now actually #vaati has had a significant minion approximately once (shadow link) and that was in shared custody with ganon

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hylialeia · 6 months

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not going to bug people in the tags but it is (legitimately!) interesting to see a character in asoiaf who is so clearly meant to be the traditional fantasy red herring chosen prince, and to see people - including the readers! - gravitate towards that romanticism, often unquestioning. I think one of asoiaf's major motifs being "ruling is hard" (see GRRM's thoughts on Tolkien) and that consistently showing up across every pov regardless of their morality or ideals or circumstances, yet both people in universe and in fanbase stalwartly believing that surely this does not or will not apply to their ruler... now, that IS fascinating

#we are not immune from wanting it to be Just Like In The Songs #suffice to say I like aegon a lot but him not being the mc isn't his tragic flaw #he's full of flaws (see: cyvesse game with tyrion) which would not have been non-issues on the throne #narratively though it is his downfall to exist in the wrong story as an element to explore and subvert and chew it down to the bone #BUT. perfect king is not and never has been how grrm roles #fantasy protagonist is not only a role earned but also arguably The Curse #and king/queen is a role inherently poisonous. the throne cuts everyone the dragonfire burns everything etc etc #asoiaf #asoiaf meta

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celestialrealms · 18 days

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I just noticed Mephisto matches with Barbatos (who is matchy with Diavolo) in the anniversary outfits in his SSR memory card

These three were also the only three who had half masks in the masquerade event!!!

Anyway, The Royals with Mephisto chat group when? We got one for Purgatory Hall with Raphael..... it's just fair !!

And one for Mephisto and Diavolo as well, but also one for Mephisto and Barbatos too. because you can't tell me their relationship isn't deeper than the devs portray when Mephisto has lines like this about Barbatos's room:

#also obviously chat groups like thirteen + solomon or thirteen + barbatos (+ solomon) as well!!!#but i was pointing this out teehee #..........................Anyway I feel like if I were going to make a meta post about Barbatos at this point #it would definitely involve his biggest flaw being his past self-isolation #+ diavolo being the one to break it (and later mc) means he prioritizes diavolo(+mc) over everything/one else #and it's very clear he has difficulty getting close to people #i usually think it's funny tbh #but i think the context it makes me the saddest in where i'm like... momma go to therapy....#is the obvious distance between him and mephisto despite being around as an adult in both his + diavolo's childhoods #while mephisto was being groomed to be diavolo's protector or whatever #i just feel like there's so much room to develop these threes' relationships #but the devs just don't want to do it because it interferes with the brothers getting all the screen time for no reason #+ how they only seem to want to make jokes about mephisto and diavolo's relationship 90% of the time #also just saying..... this being a flaw of barbatos's is also a reason i want him to interact with thirteen more #+ to know more about their relationship #because frankly she is a LOT like that too what with how she opens up exclusively to mc #......................... sowwy about the tag rant #i am simply cherishing and holding them autism style.#obey me barbatos #obey me mephistopheles #obey me diavolo #obey me #obey me nightbringer #obey me shall we date

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normal-thoughts-official · 6 months

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so here's my personal theory on how the mal shit is gonna go:

i think mal's been corrupted by shadow, and i think he either doesn't know about it or did it because he felt it was the only way to protect his friends. similar to how he sees money - the more power he has, the more able he is to guarantee that he'll never be in a vulnerable situation (losing those he loves and being unable to do anything) again

either way i think the corruption is more manipulating him than anything. from the way tyril talked this chapter, it sounds like mal has been making a habit of making harsh, risky decisions. we've even kind of seen this when he jumped in front of Valax' glaive. when i saw that i assumed that it was your main LI who does this, but no, it's always mal. i think this is, in part, supposed to show that mal is acting way more reckless than he usually would

the other part is that, obviously, the real reason the shadow didn't hurt him was that he was already shadow corrupted anyway

im not entirely sure what the endgame is yet, but i think that it's the watcher who's responsible for the corruption. i simply don't trust a man who makes his first appearance in Certified Choices Evil Robes, and besides, today's lore tablet pretty much proved that he's taking us in the wrong direction

aerin is going to play a pivotal role in helping mal get rid of the corruption. he's the one person in the world who knows the most about it, and, from his comments about shadow corruption being more complicated than you think, possibly the only one who believes saving mal is possible anyway. also, i mean, he did go through that process

the process to save mal will likely be extremely painful, if aerin's unwillingness to talk about it is any indication

our relationship with aerin will likely influence the outcome, since he will be the key to helping mal. especially since mal has probably been his #1 hater, the main reason aerin would have to care about mal is his attachment to mc. if you don't have a good enough relationship with aerin, maybe the outcome will be different

it will be through this process that we will learn that The Watcher Is Evil, Actually and possibly foil his plans?

it will be so fucking angsty it's unreal and we'll be fed everything we didn't get in the reunion and more, THIS IS HOW MALMANCERS CAN STILL WIN

the haircut is here to stay 😔

#accidentally posted this on the wrong blog so here it is again #playchoices #blades of light and shadow #bolas #bolas2 spoilers #bolas 2 #mal volari #mal x mc #meta #maybe i should create a fag for speculation or some shit #A TAG. A TAG. I MEANT A TAG. FUCK #A N Y W A Y #choices book club #i can reclaim the f word don't cancel me

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batrogers · 3 months

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So, which Links pay their taxes, for real?

This is a somewhat fast and loose approximation of my recall of historical taxes, who paid them (or didn’t) and how, how they were collected and from whom, and what kind of taxation was even possible under different governments. This is pulled from a couple decades of study into historical society and books I’ve read on feudalism, the social duties of knights, and government structure and instability in both medieval Europe and the Ottoman Empire, among others.

Notes on organization:

1. While this is a response to a Linked Universe post, I am going per game not per Link because a few games must be split. The implications about taxes are drastically different between LttP & LbW, and Minish Cap & FSA. I also wished to include Spirit Tracks bc it’s fun. I am not linking the inspiring post, because I don't believe in attacking people for a ten minute list just because it twigged my history brain.

2. I am excluding games in which Link is not implied to be a tax-paying resident of the country he’s in, so Majora’s Mask, Oracle of Ages & Seasons, and Phantom Hourglass are not included.

3. There are usually overlapping taxes in a society. Here I will mostly address taxes on residents, on vocations or landownership, whether they can pay in coin or in kind, and if they have a household that would pay tax for them.

4. I have placed Hyrule Warriors in Child Timeline here for a few reasons, mostly related to army structure implications, the martial norms of the game and the two preceding ones (large standing armies in FSA and HW; mentions of “prolonged wars” and very military flavoured royal regalia in Twilight Princess.) Obviously this doesn’t strictly mean anything or oblige agreement, but its my habit to do so and I wished to explain the choice.

I apologize so much for how long this is. If you wish to read it in a different format, it's also on AO3. This is 2000+ words. I suppose if you click, I hope you enjoy.

A note on Knighthood:

Knights were a specific, highly trained profession often (but not always) associated with landownership, either someone who was in the household of the landowner, or who was the landowner themself. The trappings of knighthood (weapons, armour, and horse) were quite expensive and belonging to a family of knights implies a specific degree of social status in and of itself.

While a sovereign can in theory bestow any title they want on anyone at any time, usually this requires that there be some service rendered for which this is a gift. (Fucking them, or just being hella attractive, counts.) Because of this, there is a wide variety of things “Knight” can mean, but here we will presume it means some degree of professionalism and attachment to a social status that is both someone who collects taxes from subjects and pays them to a sovereign in turn.

IIII

Skyward Sword =

There is no evidence of centralized government in Skyward Sword, therefore the taxes are going to whoever is in charge of the settlement. They were likely paid in kind (material goods), although Skyloft does have coin. Given we know who’s basically running Skyloft, we can guess they were paid to Gaepora, and at least one tax-funded organization: the Knight’s Academy.

Did students pay taxes? Graduates might be exempt from some taxes if still in service to the city. Afterwards, given he’s usually presumed to be married to Zelda, we can say Link is either paying taxes (or hearing about it personally at dinner), and/or helping collect and distribute taxes to others.

Or, even funnier, setting taxes on the new community because they need supplies to build it.

Minish Cap =

There is a central government in Minish Cap, because they have a monarch! This is probably a small territory: some “kings” have a few villages and fields and that’s it, but it is a castle which requires taxed goods to function because it’s not producing its own.

Link’s grandfather is a blacksmith, and also alive therefore if the census tax is paid per household, Link has nothing to do with it. If its paid per business, he’s an apprentice or employee so it’s still paid by his grandfather. Depending on which taxes were being paid when, they might pay coin or in kind (eg. Labour or goods produced.) While people absolutely did lie and cheat and not pay taxes, I expect the con artistry didn’t involve “refunds” in a modern sense, but that’s probably tax history specialization territory...

Four Swords =

This game doesn’t have enough of a framing story to comment on its social structures, but is superficially similar enough to Minish Cap we can assume the situation matches.

Ocarina of Time =

We literally see Talon paying his taxes in kind in the game. Like, you can’t pay milk as a lump sum so delivering it reliably to the castle could be counted towards his taxes, or he’s getting paid enough for it that will be paying for it later. Either way, supplies are delivered from Lon Lon Ranch by its owner who is still alive after the game and presumably will continue to be responsible for it until he is no longer owner of Lon Lon Ranch.

(Malon likely is a valid heir to Lon Lon Ranch. There is no reason to assume marriage affects her legal claim to Lon Lon Ranch. It is not common for a woman to lose her property in marriage – British law is the exception to historical norms – so even if Talon died she could still be sole and/or primary owner of Lon Lon Ranch, whether or not she is married.)

Link starts out the game not even on a Hyrulean census, with no property to his name, and no social connections. He is not paying taxes because he does not legally exist. Until he is counted on a poll as a resident of either Castletown or Lon Lon Ranch, and until he’s considered an adult (usually by means of acquiring personal property or skill of any value) he’s unlikely to be taxed.

Now, if we include into the assumed connections to the Hero’s Shade who died in elaborate plate mail we get a very different answer. Someone who owns elaborate plate mail of that sort has significant money. He may have received it as a gift for service to the crown, but if so it likely wasn’t the only gift. Plate mail is often associated with knights; a knight of some consequence is likely attached by some means or another to property. Knights under a King usually collected taxes for them... So, in a world where Link has platemail and is a valued knight of the Hylian Crown he may also, like Skyloft, be the person collecting taxes to pass them on. Whether or not that means he now technically owns Lon Lon Ranch by means of owning the land it’s on.... I leave that up to you.

Wind Waker =

Outset Island most likely operates like Skyloft: there is a headman or prominent family who collects surplus to give as aid, either in terms of money or food or services. Within that space, Link living with an invalid grandmother and also underage sister was probably one of those families receiving surplus as social support, possibly on top of whatever his grandmother was still capable of in her old age.

However, Link is implied post-game to leave with Tetra. What taxes did a ship and its crew owe? Harbour dues, customs, and other duties! This varied a lot and was usually addressed whenever someone docked at a controlled port. Often questions were asked about where the materials came from, more or less scrupulously. Sometimes people cared if you just happened to have something without a sound origin, that you had taken from someone else... like we see Tetra’s crew doing in-game...

It may indeed be possible Tetra (and her crew) are wanted for tax evasion and Link gets to be included in that, whatever his age.

Spirit Tracks =

This boy works for the centralized government’s transit system. If he doesn’t pay taxes, it’s because he doesn’t owe taxes because he’s working a tax-funded job and likely has been since he was an apprentice. He is possibly also union and knows the local tax law in extremely nuanced detail. He will judge you for not paying your taxes.

Twilight Princess =

The start of the story is also framed around the village blacksmith making some kind of tax-like offering to the royal family and setting Link up to take it. This is likely not a normal tax, but it does tell us that Ordon Village is considered a designated social unit within Hyrule and therefore we may assume that “Ordon Village” is a taxable entity in its own right. Link, as a resident of Ordon Village, would pay his portion of the village’s tax to the Mayor who arranged for its delivery. If Link marries Ilia, you can expect once again this is someone who either hears about taxes over dinner, or is helping collect them.

If Link leaves and moves to Castle Town, he’d have the joys of all the things large city residents pay for, up front or not, that village residents who are not transporting food and goods long distances but those will be sales and customs taxes, not per-person taxes based off the census or his vocation.

Four Swords Adventures [Game + Comic] =

Link’s family is explicitly positioned as either a knight family, or a legacy castle guard family with close personal ties to the royal family. He also has a living father, who is implied to survive the game/comic. As such, with Link a minor, he’s not paying taxes because he’s not liable for taxes. He also may be paying taxes by means of collecting taxed goods from the lands over which his family has ownership and paying a portion of that income to the Crown themselves.

Interesting, this could also tie into something I’ll mention in more detail below but one form of “evading taxes” can be “refusing to do labour.” If he is from a family whose young men are supposed to provide service to the Crown in the form of military labour, “leaving” is a crime.

Hyrule Warriors =

In this game, Link explicitly starts as a base soldier. It is possible for soldiers to be a form of population tax (and/or control) especially in larger kingdoms or empires. He likely did receive regular pay, but he might also have been considered legal property of the Kingdom, eg a slave. Either way, his upkeep was entirely from the taxes that went into the coffers, whether it was in food or kind. Post-game, he’s likely been involved in rebuilding which again would be in large part executed by taxed goods and labour. He might even be part of the apparatus collecting or setting taxes, especially if he becomes close with Zelda herself.

Link to the Past =

Link is explicitly stated to belong to a knight family, with an adult family member who is (arguably) alive at the end of the game. If he is paying taxes, he’s paying them from taxes paid to his family. Not paying your taxes as a knight family is infinitely more suspicious than not paying them as an individual, because then your monarch wonders what you’re using that money for. Is it rebellion? It better not be rebellion.

Link Between Worlds =

THIS Link is a Blacksmith apprentice. He does not have any known adult family. He may be assessed as part of the household he is apprenticed to; he might be assessed as independent depending on his age and where he is in his training and what the local tax law looks like. If there is a guild he may be assessed by means of his membership... but that may also be a separate tax from what he’s paying per the census. He could likely avoid it altogether, because he’s not exactly important at this age and social rank.

Ravio, on the other hand, is in some way involved with the Royal Family of Lorule (Hilda is personally betrayed he left.) However, Lorule is a failed state. There is no means by which they can collect taxes, nor distribute them... which is likelywhy Hilda has no control over her guards. (People aren’t very obedient when not getting paid.) Recovery to a state where taxation is reliable and people feel it’s worth doing will be a long road.

Zelda I & II =

Same as above: Hyrule is a failed state, at best in the process of recovery in Zelda II. People likely do not trust the tax collectors who do exist to pay their dues to the Crown vs keeping it for themselves. This is a matter of power rules. Link, a minor with no property, is likely of zero interest to anyone unless they sell children. In Zelda II, where he lives close enough to approach Impa with a question, he may be paying taxes if he has a vocation or he may be helping work in the castle, which brings us back to he’s collecting, distributing and/or paid by taxes.

BOTW & TOTK =

Hyrule here is NOT a failed state because they do not have a central government attempting to exert control. Here, things are more like Wind Waker or Skyward Sword: village mayors or prominent families control local taxation. There is limited intercommunity interactions, which are likely a matter of market tax. Link, if he settles in Hateno village, would be accountable to them.

In TOTK, we do see some kind of centralization: there’s the joint effort to construct Lookout Landing and the monster patrols, both of which would require outside support until local agriculture begins. Which communities contribute is hard to say, but most villages at this time are more than prosperous enough to spare the means. A new settlement would reduce overcrowding, increase the land available to farm, and so on: all good things for a prospering world.

(This does NOT imply they are re-establishing the monarchy. None of these groups call themselves “royal”. They’re monster patrols, not royal guards, and Lookout Landing, not a new Castletown. The location has access to already-quarried stone and trade routes going for it, after all.)

Given how Link behaves in both games, it seems likely he would contribute whatever surplus he acquires to these efforts. Out of every Link, I think he is the most likely to be cooperative with taxation... although there may be some arguments about what his taxable means is. Should this be paid in rupees or bokoblin guts? Let’s negotiate!

TL;DR =

Taxes vary wildly across time, space, regions, and forms of government. While some Links live in similar social circumstances, we have at least four really distinct categories: the Knights, the failed states, those with vocations, and the villagers. Similarly, many forms of taxes are for social support, things that Link tends to be characterized as valuing in the games. When people refuse to pay, they either do not see the request or authority as legitimate, or do not have the means to do so.

IDK it’s just infinitely funnier to me to say “Wind Waker Link is wanted for tax evasion because Tetra has never paid a harbour duty tax in her life” vs stating the evasion without cause. All the best!

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comradeboyhalo · 5 months

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"you really are skeppy's child" <- dapper and skeppy have barely interacted but its a bit uncanny how much dapper mimics skeppy. idk if anyone else has noticed it but there are certain quirks and bits that he will do around/with bad that feels almost exactly as if it were skeppy playing him. i think its really sweet how bad just happened to be paired up with someone who plays similarly to his best friend :(

#this is more meta #its more in. movements and similar ways he runs around bad in mc?#idk its really interesting

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bellshazes · 1 year

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been thinking a lot about people's varied reactions to the chaos & perceived inconsistencies around the rules of limited life and because i taught games professionally for a decade and have done a lot of reading on games academically, I have a few propositions for the fandom to consider.

proposition one: Your interpretation of gameplay events is not the same as a monolithic "the narrative" to which all players are equally subject.

Narrative is not what happened, but the interpretation and meaning attached to the events that occurred. Narrative is when we "give experience a form and a meaning." (Harris-Miller)

This construction of narrative - giving meaning to experiences - can occur in the way a video is cut an edited, as well as in the audience's interpretation after the video is released.

Social play is player interaction, both in the derived from the structure and rules of the game (being "It" in tag) as well as the social roles brought from outside the game. (1)

In transformative social play, players use the game context to transform social relationships.

Most players in the life game are more concerned with narrative as it relates to transformative social play - such as, what does this event mean for me, my alliances, my enemies, and the shifting of roles along that spectrum?

Narrative within the game is dynamic and always changing in response to ongoing events and shifting relationships. Viewers' narratives about the games are more static since they exist outside the game context and are not a part of ongoing social play.

Letting go of a single unified "narrative" lets us think about the differences, tensions, and resonances between players' in-game construction of narrative, the narrative constructed by the player's video edit, and the retrospective audience construction of narrative. (*)

proposition two: Fairness is decided by the players, not the rules.

Playing a game requires trust and safety with the other players. (DeKoven) Even in tic-tac-toe you have to trust that your opponent will take reasonable amounts of time per turn before you sit down to play.

We can distinguish between ideal rules (rules as writ, such as a physical rulebook) and the real rules (the general consensus on what playing the game should look like). (2)

Real rules can include how sportsmanlike behavior is defined, and when "breaking" a rule doesn't count; a common example is forgiving a player who genuinely made a mistake on accident and did not intend to "break" the rules.

The real rules are what actually matter in developed gameplay, and they can be negotiated and constructed inside the game as new events, situations, and dynamics occur. (3)

Brushing past Scar's "illegal" kill on greens is not him getting away with breaking the rules, it's the group coming to a consensus on the real rules of the game. Cleo asking Impulse if her kill on him can count and him finally agreeing is not the breaking of (ideal) rules so much as it is defining the real rules.

proposition: Players' own individual motivations and definitions of sportsmanship or interesting play inform their contribution to the general consensus on real rules and leading them to play "imperfectly" in favor of having more fun or staying true to something.

Purely optimal play is boring to the players and viewers, and taken to an extreme allowed by the ideal rules, would violate the real rules implicitly agreed to by the players.

"Optimal" gameplay in the life series could look like hiding in a hole underground for the entire game if the end goal is to survive the longest, but that would make a boring video and would likely be considered supremely unsportsmanlike by other players and their audiences.

Playing perfectly optimally is one motive to play a game, but is basically never the sole motivator if it's one at all.

Even if everyone in the life series has a goal to "keep playing the game as long as possible," that could mean being focused on winning, or being focused on making allies or not making enemies, or it could compel you to give up your life for someone else who's running out of time because to you to play the game is to play together. (4)

Scar is a perfect example of someone who consistently chooses "non-optimal" goals such as always having the enchanter and goes to great and stupid lengths to achieve it even if it means sacrificing winning.

This "non-optimal" play provides something for other players to play off of and react to, often leading to transformative social play, significantly meaningful narrative, or interesting negotiations of real rules. (5)

synthesis: The most interesting narratives are born out of situations where players negotiate the real rules, not ones where the (ideal) rules are broken.

The life series is inherently highly experimental - even as more seasons build on the experiences of prior ones, the constant addition of new mechanics mean the game is more or less always being playtested rather than simply played.

The "rule" against carrying Third Life into Last Life failed because it is basically impossible to eliminate the out-of-game contributions to social play, especially in a social deduction game where knowledge of other players' habits and behaviors is useful metagame (6) currency that can't be un-learned.

Some of the series' most iconic narrative moments - the end of 3L or DL, he loves me, etc. are born out of the tension between ideal and real rules, where players are forced to take a stand or advocate for something opposed to the "ideal" rules such as allying with reds, sticking with your soulmate, or that there can only be one winner. (7)

I'm offering the above as a way of showing that I think these imperfections and changes between seasons are actually the coolest thing about them and have the potential for transformative fan works in addition to transformative play.

if limited life's copious tnt minecarts via skynet and highly-manual, inconsisent giving and taking of time for kills which may or may not be deserved according to strict interpretations of the rules as stated aren't to your taste, that's just how it is sometimes! It's understandable to not enjoy ideal rules that are loosely defined or interpreted or are imperfectly implemented from a mechanics perspective, but understanding that the players of the actual game did agree and consent and get to negotiate the consequences and meaning of these imperfections is not some unfortunate side-effect but in fact an important part of any gameplay.

The various types of narratives and the various motives for playing mean there can't be a single unified narrative for all players - but thinking about these things in terms of tensions and synergies opens doors for talking about the many narratives and the relationships between them. you can hold multiple seemingly-conflicting narratives as a viewer and put them in dialogue and produce new meaningful narratives in their contradictions or overlap! go forth and embrace the chaos and tension between the chains of context that produce meaning and the freedom to look at that complex web and derive fuller meanings from it!

because this post isn't long enough, more citations and examples from the series below the cut:

Some footnotes:

(1) Social roles within the game are more artificial than the ones that exist outside of it. That doesn't make them less meaningful, but when we consider the consequences of breaking a social role defined by the game compared to a real-world breaking of a promise or law, it's hard to forget the artificiality of the game. The consequences are relatively minor; the morality of betrayal, for instance, during a game can be acceptable because of that artificiality where it would be reprehensible in real life.

(2) A few different ways to think about game rules that are not mutually exclusive but complementary to each other:

Three layers of game rules: the underlying constituative rules of a game, the operational rules that directly guide player action, and the implicit rules of proper game behavior, such as etiquette.

Piaget's developmental stages from the Moral Development of Children are useful background here: the first stage is loose play without rules, second is strict adherence to ideal rules, and the final adult-leaning stage is the understanding that the real rules are what matter. You could call putting ideal rules over the real ones juvenile.

"Ideal rules refer to the "official" regulations of a game, the rules written in a player's guide to Zelda or printed on the inside cover of a game of Candyland. Real rules, on the other hand, are the codes and conventions held by a play community. Real rules are a consensus of how the game ought to be played." (Rules of Play)

(3) "It is not that the basic rules of the game undergo a radical change; rather, they are experienced within a social context that decreases their value in favor of a socially-biased ruleset over which players have more control."

(4) I'm thinking of Bdubs in Limited Life session 7 here, since he gives time and stays alive, but if you take this concept a little further and more broadly you just get players like Skizz.

(5) Metagaming, defined broadly for my purposes as the larger social context of the game and not just the pejorative, could be its own too-long post, but I think it's worth mentioning as an avenue for thinking about the complex dynamics of the life series as social play. For example, Etho consistently is thinking from a metagame perspective, from stalling by accusing Cleo of metagaming or remarking that Scar's lost the dramatic moment so he can't attack now in Last Life, or threatening to break roleplay in Limited Life when he's mad at Scar.

(6) From Rules of Play: "Sutton-Smith's model for player roles includes an actor, a counteractor, and an overall "motive" or format for play. For example, if the motive is capture, the actor's role is to take, while the role of the counteractor is to avoid being taken. [...] In Sutton-Smith's model, the roles of actor and counteractor are both equally important in constructing the experience of play." I don't think this model is sufficient on its own, but it's a worthwhile point that conflict is part of the game and is in fact desirable within certain bounds.

(7) Scott in LL is really interesting narratively because his motivation is at odds with what the game asks him to do: he is extremely true to his word and chooses to take the penalty of being knocked down to red rather than trying to kill someone and making an enemy of them and/or failing and dying anyway. He's not breaking any rules, but his choosing to experience consequences because of his own motivation and social relationships is compelling. It pays off when he wins, and it pays off again when Cleo can't bear to kill him in DL - the metagame element of past social play relationships and player knowledge of other players contributing to the current dynamics of social play.

ETA: An important point I also wanted to make but didn't have space for up top is that Jimmy being a "canary in a coal mine" as a result of always dying first is not some immutable truth about fate that actually influences his games, but if you can accept that it's not actually fated then you can start to think about and react to the way that the in-game players construct narratives in response to the actual events of him always permadying first. Joel's futile attempts to prevent this are a product of previous seasons' social play, the transformative current social dynamics, and his own player narrative (again, narrative as meaning giving form to experiences).

Also, I strongly disliked DL's premise and thought the best parts were the chosen soulmates precisely because I think predestination is best left to Calvinists and choice, especially in opposition to prescribed rules or narratives, is the most interesting thing in the world. Of course Etho and Bdubs in Last Life is what hooked me and I am also smug that the players tend to refer to the series as "last life" even if 3L came first and it's been two whole seasons since then.

(*) On meanings:

I think that meaning is necessarily the complex web of relationships between any given things, and there is no objective meaning to anything. Words and events have no meanings outside of our interpretations of and dialogue about them - this is not nihilism, but a beautiful gift of communicating with other people. A real deep dive into semiotics is beyond the scope of this post and also my own abilities, but it informs this view. I don't think you have to read academically to know it; you can find the proof in arguments about whether a pop tart is ravioli. A stupid argument, but one that is negotiating the boundaries of words' meanings by drawing on the words' relationships to other words and the things those words represent. It's the act of making meaning, not uncovering it. So too is watching the life series and arguing about or making arguments for a certain narrative angle or emphasizing a detail etc. - I just think it's a loss not to celebrate the complex web that tugs in many different directions with many different motives. It's less simple, but much richer.

#traffic smp #limited life #mc meta #long post #peter writes #il n'ya pas de hors-texte. you got it????#i dont know if this kind of post is appealing to anyone i want to convince. but pspspspssss #what you may currently perceive as limiting is actually hiding boundless potential. pspspssspspssssssss #i hope the bullet points make it easier to read but this is such a long post.

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ad-hawkeye · 3 months

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y'all got me thinking about eden alkaid... cruelty... i genuinely adore his character and now i'm EMOTIONAL again.

one thing i really like is how the game goes out of its way to note that alkaid is simultaneously both childish AND hardened. it feels like such a refreshingly realistic outcome for someone with his backstory.

he's basically been alone since he was a child (not including lars, who he kept at arms length out of guilt, and the prefect luminary, who was manipulative and acted as a corruptive force in his subconscious) so his social skills are that of a child's, with any additional 'skills' coming from the books he read on the harmonious period.

but he's also been forced to do terrible things to survive, and has grown despondent over "becoming someone he's not" and losing himself due to the prefect's influence. he sees it as his price to pay for keeping his world alive.

alkaid's motivation for the countdown is to find a replacement who can make the decision of whether or not to continue destroying planets - in this case, earth. he feels dying will be the way to finally ease this and all of his pain.

and then he meets mc.

he's terrified that his feelings for mc truly are just possessive. that he's a danger. because for the last decade, he's been told he paid the ultimate price and that he shouldn't trust anyone, and that no one should trust him. that this is his fate.

and yet. there's still this part of him who's hopelessly and idealistically attached to the concept of good, and of true love. and for the first time, he hopes that it could overcome all.

there is a sort of realism to his actions. alkaid freely cries, he gets angry, he gets despondent. the underlying theme of his route is one of trust. and once he sees that his trust in mc was not betrayed (for the first time in YEARS), she offers her trust in him. and with this support, he manages to forcefully remove the prefect's influence in his mind. as mc says, his pain will end, but not in death. they're in this together.

and even after this, alkaid still gets scared; he is pointedly terrified of not only losing his emotions, but of losing the one person he was finally able to trust and have that feeling of "true love" towards. and mc gets one last chance to lose her trust in him... to be asked: what if he really was just that possessive and a danger, even without the prefect's control? or if not, would he falter? let his doubts and fears result in him falling back under his control? but mc immediately brushes this notion off, and for good reason: alkaid powers through with the plan regardless of his fears. he does nothing to hurt her and does nothing to stop her from leaving. he just wants a few last moments of comfort before he loses his emotions, because god knows he hasn't had any semblance of that in so many years.

anyways. eden alkaid. you agree.

#lovebrush chronicles #alkaid mcgrath #lbc spoilers #meta #tch... sorry that one line mc says about his pain ending but not in death got to me #lovebrush will occasionally drop the most banger lines out of no where and then pretend it never happened #long post

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incorrect-ikevamp-quotes · 7 months

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Man. How did I forget that an entire subplot of Dazai's main story was just. Trying to trap him into having a single conversation with MC like a normal person I'm so akhdjgfkljshgskjd

I just love watching her, Arthur, and Isaac deadass plot with glee to get one over on Dazai it's killing me, this is some Hamlet level shit (no Charles do not stand behind the curtain to kill Dazai coming in the window!!! yamero!!!!!)

Also because I felt personally attacked (/j) when Isaac said this:

I love you Isaac but pls have mercy on creatives we only have one brain cell and we're trying s o hard oTL

Although, and I'll leave it under the cut since I'm back on my Comte-posting, but the way Comte talks about Dazai fascinates me. Also just as fair warning, I do broach a lot of the topics that come up in Dazai rt so trigger warnings for self-harm, suicide, CPTSD and PTSD, trauma, etc. I don't go too too in-depth, but they are there.

Comte: "Dazai is quite skilled at concealing what he's really feeling, even from himself, perhaps."

The way he instantly remarks on how Dazai is not only working to conceal what he feels from others, but also from himself. Tbh I think that's enormously perceptive, because at first glance most people tend to think Dazai is lazy, troublesome, flippant, or erratic (and sometimes, a combination of all of these).

I love that he sees to the core of who Dazai is and what he's feeling; fear. Dazai is afraid of hurting someone again, but I also think on some level he's made it an ontological problem; he's afraid of himself. He thinks his very existence is a negative entity, something that exists only to hurt and/or estrange other people, something wrong/different. I'd argue that's why he's so adamant about mood-making and keeping to himself. If you never express how you truly feel or live true to yourself, on some level you can't entirely reach others. Because fundamentally, being close to other people does require some level of lowered defenses and sharing. Ergo, never dwell too long or give too much of yourself away, never make a mark on anyone--good or bad.

As a side note, Theo calls him "a half-strewn dandelion puff" and I agree that's rather blunt, but on some level Theo operates on a level of utility. His entire operating precept is that life and work must serve a discrete purpose. And Dazai, in choosing to opt out of living with meaning/intent out of fear, makes this description entirely consistent with Theo's perspective of the world. Though his phrasing is harsh and perhaps one-dimensional, I do find it interesting that he comes to a similar conclusion as Comte as to what Dazai is doing.

Comte talks about it with such clarity and calm, he really does feel so parental in this moment. He's not necessarily minimizing the reality of how Dazai is experiencing the world, but he also clearly doesn't agree with Dazai's self-perception. Perhaps most striking to me is how Comte seems to understand that the only threat Dazai poses is to himself...Sometimes it feels like, in the case of conditions like mental illness/depression/etc. people are so eager to assume ill will of a person. This is only exponentially compounded if they prove to have striking intelligence and strategic capacity, the same way Dazai does. I guess I can't help but appreciate that Comte knows the difference between strong and scared, and even how the lines between the two can and often do blur (perhaps best exemplified in his relationships with Jeanne and Dazai).

(Side note: I forgot which event it was but, one time when Dazai was homesick for cherry blossom watching, Comte had the entire house filled with flowers to cheer him up [insert ugly sobbing]).

For someone so enigmatic, evasive, and distant, Comte still notices instantly that Dazai is much, much happier with MC. I suppose it makes me wonder if Comte knew all along that Dazai's real wish was to be accepted and loved as he was, but kept quiet out of respect for his privacy. I would offer too that sometimes people need to realize these things on their own for the information to have value.

But what really gets my ass is what Comte says right after:

This is my bread and butter (so is he but that's not the point of this particular TED talk). In the last few years I've done a lot of exploratory work on how trauma is mapped both internally but also visibly on the body. What I think is engaging here is that, while it could be read on a surface level as "body language gives people's true intentions away" I don't think that's quite what he's getting at. Or perhaps better phrased, it's an oversimplification. I don't think it's that body language can't communicate real and important information about people's lives. Rather, that people associate rigid and absolutist interpretations to singular mannerisms, which does a disservice to both parties. Nobody can know a person at a glance; to say that you do reduces the lived reality of the opposite party.

Comte gives simple examples and couches his words for the context of the moment, but I think that first line is incredibly telling. "But the body is remarkably truthful." It makes me think of how, in moments where Comte is overcome with anxiety as a result of traumatic recurrence, he has acute panic attacks (i.e. shortened breath, racing heart, trembling). How Leonardo's lethargy (i.e. napping on the floor everywhere like the hobo he is) belies the reality of his very real exhaustion, the emotional turmoil that comes with a fraught immortal life.

Dazai's endless struggle with dissociation and self-harm, the way he stood in the rain unmoving at the thought of MC returning home to the modern era. Whether to numb himself from the pain of that grief/loneliness, or perhaps more likely the self-immolation of subjecting himself to the re-enactment of the most harrowing moment of his life. To relive that anguish as a reminder; to abstain from making the same mistake ever again. Jeanne's endless bodily tension, struggles with basic self-care (appears to be interoception-based; reduced signalling of the need to eat/rest/etc.), and self-isolation to cope in a world where only the strong survive. Never safe, always alone, always defensive.

I think, for many people in general but especially people who have been through intense PTSD/CPTSD/etc., it can be hard to express these feelings directly. Whether they are forcibly silenced, ridiculed into self-derision/self-concealment, or are overwhelmed by emotions that are difficult to process--each manifests itself in unconventional ways. It means a lot to me when those phenomena are portrayed so sensitively in written works/media, that they're explored with real intention and narrative subtlety to communicate how hard it is for people who are wounded or simply different (or both, as often is the case).

Addendum:

Even more than that, and this is an observation at the end of Dazai's route, is Comte's open belief that life is something to be cherished. Of course, like any other person he has behaviors he won't abide and people he doesn't feel partial to, but by and large he doesn't take life lightly. Perhaps that's why he doesn't expect Dazai to resort to such measures again, in conjunction with the circumstances of his transition. From an outsider perspective, I could see how Comte might assume Dazai no longer wishes for that if he seemed to regret his initial course of action by seeking resurrection. There is also the implication that Dazai is always at war with himself, and therefore might give contradictory impressions; one moment he wants to live, the next he doesn't. This is precisely what led him to ask Charles for help to subdue his own 'cowardice.' (His terms, not mine. [bonks him]) There is a sizeable subset of s-word survivors who, after recovery, feel that their problems were actually solvable despite their despair in the moment.

Of course, that doesn't apply to everyone, but I think there's something to be said of Comte feeling such real affection for the mansion boys that he is stricken to find out what Dazai attempted. And perhaps unsurprisingly, very adamant to keep him from ever pursuing such a course of action again. He's incredibly vulnerable about his horror that he might have inflicted something on Dazai that he never wanted in bringing him back, though Dazai comfortably refutes any lack of agency in the situation.

I guess I feel very compelled by the duality inherent in Comte's glass heart, precisely because of how realistic it feels. His greatest strength is his sensitivity, but it's also his greatest weakness in tandem. His genuine care for Dazai--the unwavering belief that his life is valuable and worthy--ends up being the reason he doesn't anticipate Dazai's rather deeply entrenched self-loathing. And to be honest, I'm a bit inclined to agree; looking back on a third reading Dazai feels way too hard on himself. It feels like the young girl's death was more a catalyst for what Dazai was already feeling, than anything. Dazai wanted so badly to have a reason to despise himself (as he already disliked how different and out of place he naturally felt) and with this, his self-reproach could have a viable, rational explanation. A locus outside of his body by which to rationalize his self-hatred. Accident or not becomes irrelevant; he was involved, and thus he is guilty.

He reminds me a lot of that post that was circulating once about how cultish behavior inculcates intelligent people with more devastating pull than one might expect, because intelligent people can more easily and more insistently find ways to desperately rationalize their situation to function in that whirlpool of abuse. Dazai feels like he's in this same such Catch-22, so busy believing he deserves to be scorned (because of how well he hides his perceived abnormalities) that he takes steps to ensure and reinforce it. He wants and needs to see his reality make sense, and if it won't answer his designs he will find a way to make it so.

It fascinates me because Dazai is an incredibly complex example of someone who desires control, but instead of inflicting it with external rapacity, he targets his own internal state. I once heard a Buddhist explain: yes, it is a sign of disturbance to engage with others aggressively and without grace. However, it is also a sign of disturbance when the mind seeks to harm one's own body. Although Dazai's disturbance is not as apparent, it is there. And that's part of what makes him so excruciatingly compelling to me, in a lot of ways he is the manifestation of the Sisyphean suffering of being ill in a quiet way. In enduring and smiling and laughing because you don't want to burden others--or know you're not allowed to--all while you slowly bleed from the inside out.

#ikevamp #ikemen vampire #ikevamp dazai #ikevamp isaac #ikevamp comte #ikevamp theo #ikevamp meta #i love how isaac straight up is like #'man now that you mention it he hasn't been harassing me either'#I S A A C 🤣🤣🤣🤣🤣🤣🤣🤣🤣#the way i can't stop laughing. and. AND he really said #'omfg...Dazai writes!? on god????? fr??????'#ICE COLD #ISAAC I SWEAR TO GOD NOBODY ACKNOWLEDGES UR SENSE OF HUMOR ENOUGH AND THAT INCLUDES ME #I BEG UR FORGIVENESS APPLE KING #also is it wrong that like #one side of me is entirely capable of acknowledging the gravity of the situation but the other just #is so close to losing it when MC asks Dazai what his writing is abt #and he unironically says 'the death of a clown'#truly gen z would have loved him its tragic he's not here with us #dazai main story route #minnie mumbles #also 🥺 the way comte spoke of him so fondly #my heart is so tender...#i really do love how sincerely he sees his children for who they are #i also love that no matter how much dazai thinks he's unworthy comte never thinks the same T_T #I routinely cry about that scene at the end where he's like '💢young man you better not do anything like that a g a i n.'#tw suicide #tw self-harm #tw suicidal ideation

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