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.
84 notes
·
View notes
don't ever change (4x12) is the best episode of house
minimal hate crimes SLASH patient is jewish and i'm jewish so i get to decide where the line is for the hate crimes i will personally accept and for me: it's tolerable.
medical condition makes sense and is not insane. (house md fandom wiki rates this ep as 'zebra factor 1')
i guess i sort of said this in 1, but broadly speaking, just do love it when there's jews. bonus: only orthogonal housonian antisemitism! ('it's fine to be jewish, just not religious about it,' which like. is shitty. but this is hate crimes md and see #1.)
thirteen gets outed. bi pride! #representation
house realizes wilson is dating amber volakis AKA 'cutthroat bitch' and explicitly, with his human words, says "you're dating me!" when he realizes, and then, later, 'you could do worse than dating a female proxy of me' when he's decided to give them his blessing
at the same time, in this episode, house knows... way too much about judaism. like, more than the reform/liberal jews on his team. i think it's taub* (jewish) who describes the prayer the hasidic patient's husband says over her - "he's singing, something about eshet hayil" - and house instantly knows and explains that this is a prayer for a husband to say over his wife, calling her a woman of valor. this is a thing that plenty of jews would not necessarily recognize off the top of their heads! this is something that very few goyim would know off the top of their heads.
this is just one example but he consistently has huge reservoirs of information about jewish stuff that the other jewish characters on the main cast do not know or are not chosen to be the ones to convey to the audience. thus: house knows truly just so much about judaism, and uses about half of it to be an obnoxious jerk.
why does he know all this stuff.
why is he insane and over the top about wilson's judaism in the (previous) christmas episode as well. he takes it more seriously than wilson does. by a significant factor
NOW, TO SYNTHESIZE SEVERAL OF THE ABOVE POINTS INTO A MATHEMATICAL PROOF FOR WHY THIS IS THE BEST EPISODE OF HOUSE:
this is making me insane. like i don't know how to explain this. did he learn this stuff - did he take a conversion class specifically to be able to bully wilson? WHY DOES HE KNOW THIS. WHAT DID HE DO.
i'm normal about it
how is house going to be like "i give you permission to date a lady version of me instead of dating me" while he is clearly advertising what an amazing jewish wife he would make for wilson
it's just a perfect episode.
142 notes
·
View notes
New 1989 outfit is fugly (I’m so sorry Taylor) but very reminiscent of 1989 tour (when many of the costumes were indeed also fugly 🫡)
The acoustic set outfit is also worse :(
Combining folklore and evermore is meh tbh like I don’t love that at all but I also completely see why it had to be done
I stared at the “this is not Taylor’s Version” t shirt for an embarrassingly long amount of time trying to figure out what on earth she was trying to say and I still think it’s not something that makes much sense out of context/accompanied by a side explanation and it was a weird choice for the shirt lmao.
ttpd set goes incredibly hard 100/10 NO NOTES.
her coming out in that same freaking reputation jumpsuit after changing every other outfit in the show was peak comedy (she’s so funny and we can never talk about that enough)
the entire shape of the show has changed imho so I think it’s fair for fans to be sad about missing last years half or missing this years half or about not getting to see certain songs or about not getting tickets at all to a show that was incredibly difficult and expensive to get tickets to in the first place. It feels like two separate shows. And we are allowed to express sadness or fomo without being dubbed immediately ungrateful/bad fans (obviously there’s a limit and legitimately complaining/getting mad at Taylor for doing her own show how she wants to do it/threatening to no longer go [lol, plenty of fans are in line to take your tickets] is goofy deadass, but)
I do wish she’d just done a separate ttpd tour (even if we had to wait several years and the tour was combined between ttpd and the next potential album) but I can also recognize that I’m mostly saying that because of how desperately I want to hear ttpd songs live and the knowledge I won’t be able to
I also think her deciding to add it now, combined with the general length and scope of eras tour, is evidence that she is planning to take a long break from touring once it’s over (NOT in the weird ‘she’s going to retire to have babies’ way!!! Just in an ‘I think she’s planning to take a touring break’ straightforward way)
I’ve seen some people already taking the transition from but daddy I love him into so high school as confirmation that their theory that the last verse is actually about Travis is correct. But as someone with song literacy, I merely take it as confirmation that Taylor saw the theory, thought it worked fabulously, and enjoys retconning her own songs to aid her own whims and happiness (which is so beyond real of her and also incredibly funny)
Playing so high school as the only anthology song for kicks and giggles was so cute of her she’s down soooo bad for that man
Midnights body suit is hotter than ever and she herself is also hotter than ever
Loml as the surprise song at THAT show after I’d made that post….you have to laugh LOL 🙃
If anyone has near face value tickets for sale for USA or Canada shows later this year I will genuinely offer you my firstborn child plus the money in exchange god bless
11 notes
·
View notes