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brujahinaskirt · 9 months

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WAIT A SEC. I want to cut some credit to player drunkenness in rdr2 and how it works as a vehicle to reveal something about the main character of this story.

Usually drunkenness in games is played off for cheap laughs, and there are plenty of slapsticky drunken antics in rdr2 (LENNAY). But happy-drunk Arthur gives SO MUCH INSIGHT into his real personality, too -- even when he's being a giggling, property-damaging, cancan-dancing terror. When he's drunk, he forgets a little of his mean bastard enforcer mask, the primary role he must play in the gang, and his loving nature becomes laughably obvious.

[spoilers under the cut]

From his sudden determination to teach Jack mathematics to his declared affection for Hosea; from his worrying about Susan getting a break to his insistence that newer gang members are "one of us now"; from his innocuous little compliments tossed around thoughtlessly ("Mary-Beth! Sweetest outlaw in the West! Javier! Best-dressed outlaw in the West!") to his more genuine praise for Abigail's inherent goodness, drunk Arthur is a fuzzy but honest look at a truer Arthur, one who is not thinking about the part he must play in a criminal outfit. Strip that awareness of his station away, even if just for a while, and we wind up with an Arthur who is surprisingly fun-loving, sometimes downright silly, and who lives to fuss over and dote on the people around him.

My favorite moment, perhaps, is a tipsy interaction with Sadie in Horseshoe Overlook during Sean's welcome home party. Arthur meanders over to her, this woman who is not a gang member or a close friend at the time, but simply a grieving widow he doesn't know very well. And he and asks, loudly: "MISSUS ADLER. DO YOU NEED ANYTHING MISSUS ADLER. DO YOU WANNA DANCE WITH ME MISSUS ADLER."

And she just sounds so tickled when she says no thanks to this goofy-drunk gunslinger. And I think maybe, just maybe, watching big bad gang lieutenant Arthur slamming a couple bottles of whiskey and so transparently doting on everyone gave her some of the first laughter at the world she had in what must feel like a very long time.

In Chapter 6, Arthur can again approach Sadie while drunk, and he encourage her to smile. Sadie hisses you're drunk; no woman likes being told this, and on the surface, this seems like a proper Antagonize line. But then Arthur -- who knows he is dying -- says, blearily, to this friend he met at her lowest point of grief and who seems to be in danger of plunging even lower in rage, "I just want you to be happy."

Drunkenness is not a liquid clarifier. Often times, alcohol garbles and distorts a person's personality. But with a character like Arthur, whose heart is so poorly matched with his 20-year lot in life, drunk-writing becomes a powerful tool. It's a quick, non-transformative way to believably peel off the snarl he wears around for a while (without him knowing it), letting players access an easy, silly, soft interior that sober Arthur is much more guarded about showing the gang.

#rdr2 #arthur morgan #red dead redemption #meta essay #i lied i had one more ramble in me before i gallop away for a while #redmeta

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brujahinaskirt · 10 months

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Okay, I obviously made the above post as a leetle joke, but since it's getting not insignificant traction, I do want to offer a more serious note.

I love this about Arthur. It's probably my favorite thing about him, but let me use this fresh new RDR2 meta post to clarify exactly what I mean. Despite the aspects of his personality & appearance that are traditionally hypermasculine, and despite how often he is annoyed with people (especially incompetents or people who meddle with his plans), Arthur is decidedly NOT annoyed by the social performance of femininity or by traits that are/were frequently stereotyped as feminine. Ever. Regardless of subject. I might go so far as to say he seems to canonically prefer hanging out with women and with "feminine" men.

Your long-winded, bullet-pointed analysis is below!

The Girls. Most noticeably, Arthur actually sits down to talk with and actively confides in the camp Girls (Tilly, Mary-Beth, Karen) more than anyone else around. These three are the most traditionally "girly" (single, 20s, active, pretty, unattached, highly social, feminine, chatty) members of the gang, though of course they are still criminals and don't perfectly adhere to all period-typical standards of feminine comportment. He doesn't mock the girls** like he sometimes does with other auxiliary members of the gang (like Uncle and Pearson, playful or not). Notably, he doesn't even gently tease Mary-Beth for writing her "silly" romance novels, a highly feminized hobby which she speaks about in a self-depreciating manner, much like Arthur speaks about his own artistic hobbies. Rather, he talks to her about writing like a peer and encourages her to write more by going out of his way to get her a nice pen. Crucially, there is no canon romantic or sexual interest in any of the girls on Arthur's behalf. He just feels the most comfortable in their company and seems to value their advice/opinions on life the most. To me, this is much stronger proof than his forever-burning torch for the cultured & ladylike Mary, which is (or was once) rooted in romantic desire. ** Unless the player persists in Antagonizing them, and these lines (while sometimes shockingly cruel and offhandedly sexual in nature; see Arthur teasing Tilly about pursuing Javier) are largely about goading them for laziness or, in Karen's case, her alcoholism. That said, many of the Antagonize lines strike me as clumsily tacked-on & poorly rooted in canon, which could indicate: (1) an Arthur who is deliberately trying to be disruptive (a generous interpretation), or (2) writers instructed to add throwaway content that will make a certain type of childishly misanthropic gamer (think 13 y.o. boys) squeal in glee with relatively low impact on the overall story.

Campmates. Following the above point... who doesn't Arthur hang out with much? The manly men of the gang; the very people social mores suggest he ought to be hanging out with. Bill, Micah, Joe, Cleet, and even Dutch. (To some extent, this includes John and Sean, but I'd say John sort of lives at the edges of gang life anyway, and Sean is, well, Sean.) Conversely, which male gang members does Arthur hang out with a lot? Sweet little bookish Lenny, a wordy, positive-energy, breezy intellectual who has just barely become an adult. Introspective, soft-voiced, long-haired Charles, who is traditionally masculine by some standards (strong, usually calm, can be standoffish) but decidedly NOT so when his appearance/demeanor is judged by the white Christian American male standards that began to dominate masculinity concepts in the later decades of the 1800s.

Algernon. Oh, my, Algernon. Arthur clearly dislikes Algernon's fancy, loud, outrageous clothing. But weirdly, he seems to like Algernon, not just tolerate him. Arthur in fact goes through significant personal discomfort to avoid hurting Algernon's feelings (the awful hat, the POST.MAN. sobbing), and he immediately says yes to having tea with him without any awareness of a coming business proposition, though half the time Arthur clearly has no fucking clue what Algernon is talking about. I am left to conclude that on some level, he just enjoys hearing Algernon talk, which is word-for-word what he says while listening to the Girls argue about romance novels ("I just like listening to you [all] talk." Hello????). I mean, for God's sake, he meets the man while he's choking to death on a nut at a fancy party, and the second thing Algernon does is tell him he looks like a guy who wears a corset. If anything was going to set off the boiling defensiveness of a dude who worships masculinity, thirty seconds with Algie would have done it.

Margaret, Mistress of Fucking Danger. It's pretty clear Arthur doesn't like Margaret. But that has little to do with Margaret's femininity & cross-dressing (this doesn't faze him at all when Charles Châtenay does it; more on that below) and everything to do with Margaret's deceptiveness and highly selective memory. It's not until the bullshittery unveils itself that Arthur starts getting visibly pissed off at Margaret. Conversely, Arthur does seem more positively disposed toward Sally Nash. (That said, this quest has a lot of problems and poorly aged lines that are depressingly easy for a politically motivated jerkoff to soundbite and miscast as Rockstar being pro-bigot. Cue 800 heterobnoxious gamerbro ARTHUR MORGAN ULTIMATE ANTI SNOWFLAKE SIGMA MALE OF THE WEST YouTube videos.)

Albert, my beloved. Rather than goading him to man up, Arthur tries to persuade Albert (whom he very obviously likes) to pick safer animal photography subjects, e.g. horses, and doesn't insult him for his lack of wilderness knowledge (an aspect of traditional manliness that is highly relevant to Arthur's lifestyle). You'd think he would tear into him for this shortcoming, given that they share so many of the same interests and passions, and IMO his genuine eagerness to serve as Albert's protector and facilitate his art is highly convincing evidence that Arthur does not necessarily view masculinity as a net positive.

Arthur is a basic goddamn boyfriend-hater. He pretty much harshly disapproves of every husband, boyfriend, male partner, etc. in the game and is very, very vocal about it... except one extremely unlikely candidate: Beau Gray. Weak, dandy artist Beau Gray, whom Arthur takes one look at and promptly hands the only gun to Penelope. Arthur is curt and impish to Beau at times, but helps him in his relationship troubles willingly (without collecting repayment), and seemingly for no other reason than the fact he can see that soft, fearful Beau is genuinely head-over-heels in love with Penelope. Is he projecting his own young love for Mary onto them? Maybe/probably, but Beau could not possibly be more different from young Arthur, and Arthur seems to believe this difference will make him a good husband for Penelope. A good husband, in Arthur's view, seems to simply be a man who ardently loves his beloved, regardless of his ability to provide for/protect her, and whose only goal in life is to live that life at her side. This is completely antithetical to mainstream late-1800s views on what constitutes a good husband and what it means to be a man.

Châtenay. Arthur shows us some of the most obvious delight and mirth he experiences in the game when he's hanging out with Charles "Allo Boys" Châtenay, who is straight up in drag a third of that time. This baffles Arthur a little, but doesn't disgust or repel him. I've written about this mission elsewhere at greater length because it is one of my favorite disasters, but it's worth mentioning here too.

Trelawny. Arthur clearly enjoys Trelawny despite his grumbly claims to the contrary. Most of these "claims" are just Arthur's established way of affectionate teasing (he does much the same with Uncle and Pearson, both of whom he genuinely likes). His authentic gripes about Trelawny are all about a perceived flightiness/lack of loyalty to the gang, not about his flamboyance. And even these gripes are half-assed, in Arthur's usual way.

Bluegills & Daisy Chains. One of the most genuine moments of softness we have with Arthur in RDR2 is when he takes Little Jack out of the camp to go fishing. Arthur's usually a much truer version of himself when he doesn't have to play the Big Bad Gang Lieutenant role, but this moment of escape is especially important, and not just because Arthur reveals his fondness for children and his natural understanding of how to talk to them. I notice this: Arthur tries to gently teach Jack about fishing, and Jack is completely fucking uninterested. Jack prefers to make flower chains for his mommy. Arthur doesn't scold him for his drifting attention or his lack of attraction to masculine past-times; on the contrary, Arthur goes out of his way to encourage and protect Jack's natural sweetness and innocence. That's a wild stance for a murdering outlaw to have re: the "next generation" of his family. Hell, I've encountered far too many 21st century dads in my own family who flip their shit when their tiny sons prefer hanging out with women & partaking in "womanly" hobbies like art, cooking, and flowers rather than hunting and fishing.

"...and be a god damn man." This seems like classic masculine bluster on the surface, but what does this keynote line mean in the context in which Arthur says it? Well, it's complicated. This statement serves as (a) Arthur's goodbye to John, (b) Arthur's final call to action for John, and (c) Arthur's last wish for his brother's life. But it certainly does not mean standing and fighting or being tough; i.e., "dying like a man." In that moment, it means abandoning all masculine bluster and revenge fantasy, and running away: leaving violence and fighting and brotherhood and all that crap behind to simply be there (alive, present) for your wife and son.

The Best Women People. Who are the best people Arthur knows, by his own crystal-clear declaration? Abigail and Sadie. Sadie's a rough-and-tumble, super-violent gunslinger and Abigail's a stubborn thief & a former sex worker (in the time Arthur has known her), but they are also, critically, two wives: the most traditional feminine role for a woman of the time period (and indeed perhaps most of human history once the concept of "wife" subsumed that of "mother"). It's also important to note that Arthur doesn't truly give up on Dutch until Dutch abandons Abigail, which serves as Arthur's point of no return. The other men left in the gang at this point specifically note that she's "just a woman" and not worth going back for. Arthur is straight-up shocked by all of this; he obviously considers her among the most worthwhile and value-having members of the gang, and certainly one of the most core members of the gang. Without any hesitation or doubt, the instant it's clear Dutch is cutting Abigail loose, Arthur declares: "That's that, then."

tl;dr: Arthur unironically prefers hanging out with women and queens and I love that for them.

#rdr2 #arthur morgan #red dead redemption #i promise to wait an appropriate amount of time before hurling another one of these massive essays at you tumblr #redmeta

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brujahinaskirt · 8 months

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I love rdr2 for the little things--like how sleeping arrangements over time reflect narrative arcs and interpersonal decay (or bloom).

Just a really quick observation:

The most obvious and important sleeping change, I would argue, involves the Marstons. At the start of the game, John has abandoned and disavowed Abigail & Jack; they sleep on the ground in a flimsy shelter while he, the returning golden boy, sleeps in a bed under a comfortable tent. John's tent arguably affords the most privacy in the game, and this makes sense early on, when he's trying to maintain a distance between himself and everyone around him (especially his family, including Arthur). In Shady Belle, John has welcomed Abigail and Jack into his bedroom, and -- notably -- he sleeps on the floor this time. It's as much a signal of John's growth as a person who is allowing himself to be a little more reachable as it is a sign of his fledgling sense of regret and apology (for abandoning them in the first place), and it is a sign of him warming to the idea of Abigail and Jack as his family. But it doesn't happen all at once; Abigail and John still refuse to sleep beside one another. In the epilogue, as they actively attempt to rebuild their lives together, John and Abigail finally sleep side-by-side as a couple.

I read someone once point out that Uncle transitions from sleeping all over the camp, wherever he happens to pass out, to sleeping directly behind Arthur's tent in Beaver Hollow. This was so cleverly observed. What a powerful sign of the overall degradation of the character of the gang as Uncle (the character most representative of optimism and comfort) begins to fear for his safety and future enough to take physical shelter behind Arthur. What a note of confidence and clarity re: the true person Arthur is beneath the air of danger he has worn like a job title and a suit of armor. (I hunted for that original post to no avail; if it was yours, please let me know so I can link back to it!)

Molly & Dutch and the sliding divide. We start off with a present but muzzled level of friction between these two. Molly sleeps on the only bed in Dutch's lavish tent; Dutch sleeps beside her but... sitting up (haha okay very healthy)... because there's no room for Dutch and Molly. Later, Dutch commandeers the master bedroom at Shady Belle while Molly drunkenly collapses in an isolated place, usually by the kitchen window, blasted with light (see: truth) but far removed from the others, a reflection of her self-isolation and detachment from the gang and anyone who might be able to help her.

Dutch's tent gradually drifts farther away from the center of camp, at its maximum distance in Beaver Hollow. Micah, Cleet, and Joe linger closest to Dutch at this point, noticeably even more so than Javier and Bill.

The slow pull-apart of The Girls. Similar to Molly, after Sean's death, Karen can increasingly be found slumped over drunk in various locations at the periphery, semi-conscious. This is never more apparent than the Beaver Hollow era. Meanwhile, Mary-Beth and Tilly remain sleeping tightly next to one another, not far from Sadie.

God only knows where Micah sleeps.

(Might come back and expand this more later! But that's all she wrote, rushed, for now.)

#rdr2 #redmeta #red dead redemption 2 #arthur morgan #john marston #dutch van der linde

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brujahinaskirt · 1 month

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you guys ever think about the possibility that john abandoned abigail & jack because he knew he couldn't do it, knew arthur would step in, and knew that arthur would do a better job of being a person they deserve. just—violently exiting the overwhelming situation because you don't fit into it, can't imagine a you who does fit into it, are not willing to contort yourself in order to try (and fail). so the best thing you can do for everyone (or so you tell yourself) is to remove yourself, to erase yourself without a goodbye, so your absence (and a shared resentment of you by the people who love/d you) tears a hole that a better-fitting man will fill

#rdr2 #john marston #arthur morgan #i still want to kick john's ass but i acknowledge he can be both wretched and deep #redmeta

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brujahinaskirt · 7 months

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i had a charles smith thought so vicious and tragic i'm putting it under a cut (huge rdr2 spoilers)

So we know Charles knew Arthur was dying. I think he might have suspected it for a while, given that when Arthur told him, Charles accepted the diagnosis right away; his first instinct was to comfort Arthur instead of trying to deny it. He knew that when they said goodbye, it was forever.

But Charles is cagey as hell about how he accomplished Arthur's burial (in time to track, identify, and move his remains), and also pretty evasive about how he even found out. I wonder if maybe he didn't make it all the way up north. I wonder if maybe, shortly after he left, Charles was quickly overcome with guilt and gave in to the irrational drive to turn back around and go get his friend and take him out of that damned gang, to hell with it; he can't leave him there, even if Arthur doesn't survive the trip to Canada; even if Arthur's already dead. He'll go back there and take care of... whatever there is to take care of. Even if, as an act of mercy, he has to finish Arthur off himself (which, we must remember, he is prepared to do in the case of Uncle and the Skinners).

Still. Even if he knew Arthur's prognosis was fatal and swiftly approaching, a small part of him must have hoped, as we all would, to find his doomed friend still alive, if only to get to talk to him again.

[I'M SO SORRY FOR THIS.]

#charles smith #arthur morgan #charthur #rdr2 #redmeta

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brujahinaskirt · 1 year

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One thing I really appreciate about Rockstar's passive characterization of Arthur, and something I think fandom occasionally fails to pick up on, is that...

[characterization meta under the cut, including rdr2 spoilers]

... Arthur is definitely a masculine style of reserved in that he struggles to verbally express his feelings for/to human adults. (Even high-honor Arthur has a hard time at this, which is interesting and quite sad, considering how easily easily he verbally expresses his love to Jack and animals, or when he's had too much to drink.) But despite this, he's not PHYSICALLY reserved in expressing his affection and connectivity to other people, and this is a really important facet of understanding who he really is and wants to be.

Like most horse people I know (including myself before I deliberately expunged it from my behavior after moving to a city), Arthur's very tactile. He uses his body to offer reassurance and ground other people in the way we often do with horses. Throughout the game, he's often giving out such physical gestures of camaraderie and care, sometimes even to people he doesn't know very well. Hugs, back claps, wrapping his arm around people, gripping shoulders, steering people around, tapping people offhandedly to calm them down/still them.

Of course he does this to people he loves, like cradling Tilly to him to reassure her she's safe after a crisis or holding Jamie to comfort him after his breakdown. But he also does it for new friends (often patting, grounding, or embracing Albert & Algernon) and sometimes for strangers (tightly hugging Meredith to calm her down during a fit, patting Charlotte's shoulders to encourage her that she's being a good student). Hell, he can even consent to giving Mickey a hug, whose clingy nature clearly annoys Arthur.

He might have a hard time expressing it in words, but he's pretty damn consistent in physically expressing his care for his loved ones and humans he likes in general.

Obviously, I'm not saying this is always the right thing to do, and I don't endorse running around town and throwing your arms around strangers (please don't do that). But I very much appreciate the authenticity of this physical affection/kindness for an equestrian, and I especially appreciate it being attached to a tough-guy character who goes through life using his body as weapon and tool of intimidation. It offers us an enormous amount of information about the role Arthur has been groomed to play in life versus the sort of person he naturally is.

#arthur morgan #rdr2 #red dead redemption 2 #redmeta

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brujahinaskirt · 9 months

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You know, when it really comes down to it, the main thing that tears me to pieces about Arthur & John is encapsulated so nicely in the trope of the Lonesome Cowboy.

RDR2's storytelling is particularly masterful as it shows us that everyone is the mythic Lonesome Cowboy... but at the same time, I believe it manages to quietly suggest there is one true Lonesome Cowboy of the series.

And it ain't Arthur Morgan.

DEEPLY overwritten explanation below!

On the surface, Arthur is clearly set up by RDR2 to be our Lonesome Cowboy. He even sings the song. But is he really? Really, truly? Or is Arthur's brand of lonesomeness a clever model to help us, through comparison and contrast, begin to notice and understand another, deeper type of loneliness?

Arthur thinks he's unlovable and alone because he lacks one specific type of love, romantic domesticity, which he has dreamed throughout his life and consistently been denied. But though his pain is genuine, the idea that Arthur is alone and unloved is almost laughable. R* shows us every single game day that Arthur is surrounded by people who love him, live with him, and depend upon him.

But that's the great irony of the RDR Lonesome Cowboy, right? Arthur feels lonely and believes he is alone because he is a "bad man" and nonbeliever whom "no one will have" (not even God, and he remains true to his atheism through the bitter end [and thank god for that honestly because the last thing I needed was a Come to Jesus cowboy game...]).

But the inverse is true, and his depression is lying to him; Arthur is almost never alone and pretty much everyone in his family unit actively enjoys his company and wants him around. And yes, many of these people are damaged and have trouble communicating that (though fewer than you'd think). And no, it isn't the same as getting married to one person and raising a family with them for the rest of your life. But lonesome? As in, emotionally and/or physically alone?

Nah! Come on, man! Not even close.

Arthur is more than just loved and needed: he's actually understood by those he chooses to let in, because Arthur is definitely capable of telling his closest confidants how he feels and what is lurking in his heart. We see him do this many times. Sometimes with surprising ease and honesty.

When Arthur is physically alone in RDR2, he's wandering at the player's command, and if he wanders for too long, he's eventually retrieved & lambasted by the people at camp who quite openly/forcefully tell him they missed him and worried about him. Even Low Honor Arthur is a popular man at camp, in his own way, the support beam of his strange family (though LH Arthur is more likely to selectively deny that support, or to provide that support with the caveat of verbal cruelty).

A messy run-down of some obvious examples to illustrate my point:

Despite Dutch's deterioration and manipulations, Dutch and Hosea openly dote on him and relish telling embarrassing family stories about their Big Man Old Guard son to each other. Hosea especially frets about and tries to care for Arthur, mostly physically but sometimes emotionally as well. Susan can be abrasive at best, but she also clearly favors Arthur, thinks often about his well-being, and is one of the primary worriers when he's away from camp for too long.

Abigail and Jack completely rely on Arthur for a significant period of their lives, and though Abigail struggles greatly with showing affection & vulnerability, I would argue her primary and most extraordinary mode of care and affection for Arthur is allowing him to help her raise her son. Sure, she needs the help... but Arthur needs the nuclear family experience of being heavily relied on, too, and Abigail makes it clear she understands that about him better than anybody else. (I'd go on to argue that being relied on in a family way is essential for Arthur's self-esteem and is how he can continue to function despite the massive clash between his true nature and his violent lifestyle, for which he constantly berates himself. But that's neither here nor there...)

The Girls (Tilly, Mary-Beth, Karen) actively worry about his mental health and invite him to share his burdens with them, comfort him (each in their own unique way), play games, dance, etc. They do this for Arthur we don't see them do for anyone else in camp (apart from each other, which leads me to believe Arthur is sort of an honorary member of The Girls, though I won't get too much into that here).

Sadie: "Aside from my [BELOVED HUSBAND AND SOUL MATE] Jake, you're the best man I've known."

Though Arthur seems more likely to trust & befriend women/non-masc men, he has masc men friends & confidants too, and most of the men at camp seem to rank Arthur as somehow more reliable than other members. Charles very obviously loves Arthur & vice versa to the point where I tried to pick one demonstrative example and couldn't figure out where to begin. Uncle is a pain in Arthur's ass, but when shit hits the fan, he knows (and tells him) that Arthur is the best man of them all. Lenny, while young, enjoys Arthur's company (though I would argue Arthur feels more strongly about Lenny than the inverse due to Arthur's tendency to protectively fuss over young people). Hell, Sean constantly tells Arthur, word for word, "I love ya, Arthur Morgan!!! I really do!!! I love ya!!!!" He's being goofy, but he's not joking! He said that!

And that's just a surface-level sampling of gang members. These threads run much, much deeper and we could spend essays analyzing each one, but my god this has gone on too long already.

One could argue that Arthur's story aloneness is at the moment of his death, but I can't quite agree. With Save John + High Honor Arthur path especially, I would argue Arthur has never been less emotionally (even spiritually) alone than when he chose to change the very nature of his death from a random consequence of his hard life to an act of love that gives his surviving core family (John, Abigail, Jack) a chance at happiness. In less peaceful endgame scenarios, Arthur might not actually die alone, or even have time to linger on his approaching departure from the world.

So I posit that Arthur is not, was never the Lonesome Cowboy. Arthur is loved as much as he loves others.

I posit that the true Lonesome Cowboy of RDR is John.

John Marston, who on the surface has everything Arthur ever wanted... but who, due to the nature of his heart and what he's seen, cannot bring himself to fully open up in a way that enables him to be truly understood and embraced by anyone, not even the person he comes to love most in the world (Abigail). There's a reason the epilogue feels so shocking and lonely, and while I do think Rockstar could have done a better job on the transitional cinematics from playing as Arthur to playing as John, that crushing loneliness and sense of discomfort and incompleteness is vital.

It feels awful. It feels like we just lost a limb and were thrown back into everyday life with no fanfare, no true honorable sendoff, no closure, no greater understanding of the world, no peace or contentment. And it feels that way because that discordant, jarring dis-allowance of grief is the ONLY mechanism that helps us feel how John must feel now. Because unlike Arthur, John cannot express or unfold or understand his own pain and loneliness. Not to us, the player, and not even to himself. He never grieves.

Of course, when Sadie and Micah drift back into his life, John snaps. He's never grieved! He's been emotionally alone through all of that, even when he has his family and friends, because he can't open up and let them in! He risks destroying his family in a way that would have undoubtedly caused Arthur extreme horror and anger because John's family is not and has never been a cure for John's loneliness, even though John truly loves them more than anything at the end.

John can't express it, so it's these lyrics themselves that serve as the fount of his grief: I ain't got no brother. No wonder Abigail has her own quiet epilogue rendition of this song (and she, too, is a profoundly Lonesome Cowboy in her way, just like Karen, Hosea, Javier, Jack, etc....). Once Arthur is gone from the world, so too is the only person who knew this deeply damaged kid well enough from his wild childhood to really even hope to see into John's heart.

tl;dr: Arthur thinks he's the legendary Lonesome Cowboy, but he's not. He's just lonely, not alone. In reality, the character who is fundamentally alone, truly lonesome, has always been John.

#rdr2 #red dead redemption #john marston #arthur morgan #redmeta #long long long long post

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brujahinaskirt · 1 year

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Just some lil' thangs you might not notice about the level of detail RDR2 puts into Arthur's interactions with horses if you aren't personally experienced with horses:

[Sorry if this has been done! I couldn't find a post like it in recent tumblr history, and hope I can at least add some thoughts that haven't been analyzed to death already!]

(First, a note about me: I was raised on a quarter horse ranch and trained by a cadre of old-school cowboys in the Western tradition. Some of them were excellent teachers and some of them were crabby-faced bastards who thought "horsemanship" = engaging in a constant war with your horse... which gives me a little insight into positive and negative horsemanship styles on display in RDR2.)

(Second, thanks to fellow horsegirl @mangocats for helping me compile this list!)

(Third, a simple note to say that although I playfully use the term "horsegirl" in this post, the notes here apply to any gender. Same goes for the use of terms like "horsemen," which is not commonly used in the Western equestrian world to indicate a rider's real gender.)

Now, without further ado:

Press X to Calm. Arthur uses a tried-and-true low-stress, gradual escalation method of approaching and calming a spooked horse that begins with establishing physical contact with one hand and slowly increasing contact until the horse is fully calm and is once more amenable to human direction & commands. This is usually a preferable method to getting a frightened horse under control imo, but it's a "soft hand" method, and not something you always see in machismo-loaded equestrian circles. I've written about this a little in another meta post, so I won't get too deeply into it here.

Overall Horsemanship Style. You'll notice that while he does occasionally drive them hard in emergencies such as escaping the law or chasing a train, Arthur never "forces" his horses to comply with commands; in other words, he doesn't use his strength to try and bully a horse into doing something, like crossing a river, or physically punish a horse to "desensitize" it. "Forcing" horses to do things using tack designed to create discomfort or using raw bodily intimidation + fear & pain-motivated negative reinforcement is a tragically common tradition in old-school Western riding (and still advocated by some popular TV equestrians whom I think are straight-up animal abusers... if you know you know). It's dismal, but for a lot of the cowboys I know/knew, when a horse isn't obeying, you need to "show it who's boss." Arthur never approaches animals this way. By contrast, especially for the time period, he is exceedingly patient with horses and animals in general. We can even see this in his dialogue to wild horses; when they gradually calm down after the initial "breaking in" process, Arthur usually says something companionable like, "See, we're friends now."

And a sub-point on that: Horsemanship Temperament. Arthur never gets mad at or yells at his horse. Even when he gets chucked to the ground, he'll yell DAMN, THAT HURT, and then it's back to trying to calm the spooked horse. Which is exactly the right attitude to have. (Though if you've never been hurled face-first into a pile of sun-baked manure because your horse saw, idk, a twig on the road, you might not appreciate how even-tempered a character Arthur is for never succumbing to the temptation to yell, "COME ONNNN GIVE ME A BREAK IT'S A STICK YOU SILLY BITCH!")

Horse responsiveness. The horse emotional cues in this game are incredible, from their reactions to other animals and weather events to their reactions to Arthur. You can see the horse's neck muscles tense and relax when being calmed, their eyes changing in size, their head drop and raise in response to the reins, and their annoyance seeping through with stomps and pinned ears well before they start to spook. When Arthur speaks to his horses, you can even see a subtle ear flick backwards as they listen to him. When he gives certain commands (such as a mild squeeze of the knees to speed up a bit), a calm and attentive horse will often issue an affirmative snort; this is incredibly lifelike and essentially a "roger roger" between horse and rider. I was also impressed that Arthur uses his thighs and his knees to cue his horse more than his heels. Usually you just see the dramatic heel cues in in video games, but in real life, a rider gently but firmly squeezes their knees/thighs far more often than laying into their horse with boot heels, which is a fabulous way to get sent to the moon. One thing I would have liked to see is more riderless idle horse animations. Lazy or bored horses do a very classic pose where they rest their weight on one side, cock a hip out, and jauntily kick a back hoof up. It would have been right at home at the hitching posts in RDR2, and the horses are otherwise so lifelike, I find myself missing this little pose.

Historical bits. As players, we don't have much choice with this, since Rockstar matched bits to saddles rather than letting us customize them. With that disclaimer out of the way: Arthur uses a wide range of bits, some of them much harsher than others, designed to offer more control over a difficult horse's head through pressure points within the mouth. This is historically sound and far from obsolete in modern horsemanship, though I would certainly avoid using some of the harsher bits in RDR2 on my horses to avoid hurting them accidentally. That said, it's important to note that "harsh" control bits (like those wickedly straight-shanked bits you see with some of the cooler saddle styles) aren't instantly or automatically painful. While many of us modern horsegirls may frown upon the just-for-the-hell-of-it use of many styles of old-school, Wild West bit, in the hands of an experienced horseman with a good sense of appropriate rein pressure (which we can assume Arthur is), even a curb bit should not be a tool of pain. In the hands of a novice, however, some of those bits would absolutely hurt a poor horse's mouth and are typically reserved for troublesome (potentially dangerous) animals who may need to be curtailed quickly. I'm assuming Rockstar chose them for style more than characterization... but I do wince when I see those hard stops with the straight shanks, every time.

Horsetalk. We all know Arthur baby talks horses, and that his babble to his horse increases in affection with bonding level and varies a little depending on the horse's sex. But he also does something peculiar and frankly delightful with his vocal modulation on certain horse chatter lines. In those moments where he seems to go a little vibrato, warbling his voice as he talks ("waiaiaiaiaiaiaiat! come bahahahahack!" he calls after a fleeing mustang), Arthur is actually mimicking calming/positive horse sounds (usually a friendly nicker or a greeting whinny) in an attempt to communicate in horse language. While I think a TON of horsegirls have secretly nickered at our horses when no one else is around the stable, making horse noises at your horse is not a "traditional" training technique, and imo is something other gang members would definitely make fun of him for. It is also very adorable. I wanted to add that while horses are excellent at noise commands (like whistles, clucks, kisses, etc.), they usually aren't very good at identifying spoken word commands, including their own names. Therefore, the majority of the talking Arthur does to his horse is just free companionable chatter, much like we babble to our house pets. The command is in the cluck, the leg pressure, the yah, the rein slap; it's not the spoken, "Come on, girl, here we go!" That's just Arthur being a horsegirl.

Saddle checks. If you pay close attention, in cutscenes and in the map, Arthur will occasionally reach down and test various pieces of his saddle. This is particularly true with checking the cinches (those big straps that loop behind the front legs and under the belly), which good riders often do, as saddles can adjust during a ride. Straps that are too tight or too loose will cause a horse discomfort, since they change the way the saddle rests upon them and distributes the rider's weight. You can even watch the saddle shift when Arthur mounts and dismounts, reflecting the changed distribution in weight! This honestly floored me the first time I saw it. Rockstar really consulted people who know their stuff.

Bad Habits. IMO, Arthur's a little slouch-backed in the saddle. This is noticeably worse if he's hungry or sleepy, but even well-fed and rested, his shoulders drop and curve out his spine more than is ideal. This won't hurt his horse, but it will come back to bite him directly in the lower back as he ages, and I argue it's probably biting him in the ass a little now. (More on that below.) Arthur's "behind the horse" etiquette isn't particularly lifelike. In RDR2 (as in life), sometimes idling or benignly messing around behind a horse will cause them to randomly kick, and any equestrian knows not to hang out aimlessly in the kick zone. IRL, if you're about to walk close behind a horse, it's good etiquette to reach out and gently lay a hand on a horse's hip to let them know you're going to pass behind them before you step into the kick zone. I would have liked to see an animation for this, but I'd guess this would have been a real pain to animate without "locking" Arthur in place (as with the petting and brushing animations), so I can't really count this against him in good conscience. He also holds his reins in a full fist rather than between the appropriate fingers. This is a novice mistake, but I'm guessing this is an animation choice more than a characterization one, because I can't imagine getting those wobbly rein physics to rest perfectly between a model's wee little fingers. Which brings us to...

Reins. Arthur keeps a pretty tight (though not oppressive) grip on the reins when he has a horse in motion, facilitating quick communication from rider to horse and increased emotional response from the horse, and he tends to use both reins when he isn't holding something else. This increases control and often allows for clearer communication between horse and rider in comparison to the laxer "rein knot" one-handed Western style. More on that point: Arthur sometimes holds the reins in one hand. This is not lazy horsemanship, but rather a mainstay of the Western riding tradition; holding the reins in one hand allows for a rider to keep one hand free for whatever they might need... usually rope/weapons. Using two hands, one rein in each, does deliver much more refined control (especially with a nervous or inexperienced horse), which is why you often see Arthur switch between one- and two-handed riding. Rockstar also makes the clever choice to make reins “stretchy” so they move with the neck and simulate rider give and restraint, rather than having them just flop around at a static length. This makes reining feel a lot more dynamic and responsive, in my opinion.

Bareback vs. Saddle: To Rockstar's credit, riders' carriage when bareback is entirely different from the saddle carriage animations, and displays a lower center of gravity.

This note is a bummer, but it is, I feel, an important one to know. Arthur is WAY TOO BIG to ride a significant number of horses in the game. Horses are not bikes or cars. In real life, it's extremely important to consider a rider's weight and height and general carriage when matching them with a horse, especially for long-distance rides... and unfortunately, Arthur is prohibitively huge. If I saw a man Arthur's size astride that teeny little Morgan, boots tips damn near dragging, I'd give him a piece of my damn mind. That said, it's just a video game, so if you love that white Arabian or that sweet little Morgan, ride without shame; you are not hurting a pixel horse! But if you're into max realism or a horse an experienced rider like Arthur might conceivably choose for himself, go for something larger, leggier, and stronger. Though Rockstar fictionalized their breeds a little bit, I think one of their taller well-balanced styles like the Dutch warmblood, standardbred, Hungarian, Andalusian, or even one of those svelte Americanized Belgians suits Arthur much more comfortably. Online's Kladruber would also be an excellent choice for Arthur. (Ain't nobody saying SHIT to Arthur Morgan on a heavy breed like a Shire, though they aren't well suited for everyday long-distance all-terrain riding, and I feel sympathy pains about that leg spread just thinking about it. Speaking of...)

Real talk about Arthur's "swagger": Though I'm 100% sure it's a dominance thing for some crusty ol' cowboys, most equestrians don't saunter around Like That TM because they are listening to Rod Stewart croon If You Want My Body And You Think I'm Sexy at all times. That "swagger" is just... well... to be blunt, it's sort of what happens to your gait after you spend all day with your legs straddling a big animal moving on rough terrain. Hang out with some adults who have ridden horses daily since they were wee beans and they'll tell you allllll about what it can do to your posture. Contrary to cowboy jokes, it's not so much about being bowlegged (which is massively exaggerated as it pertains to horseback riding) as it is about lowering one's center of gravity to compensate for things like muscle strain, spinal compression, and lower back pain. Due to the high impact nature of riding, many career horsepeople develop chronic back problems and "swaggers," and for some it's eventually more comfortable to ride than to walk. Not saying you can't hc an Arthur who struts his stuff, of course! Just saying that, for those of you who might struggle to reconcile Arthur's blisteringly low self-esteem in his physical appearance with his "swagger," here's a horse world answer.

Knights Templar'ing it. This is another bummer for a ton of cute fanfic scenes, but riding two-to-a saddle is really not good for a horse. It's not just about raw weight, but about the distribution of that weight and where the pressure rests on a horse's back/organs. A bean like Little Jack sitting right in Arthur's lap isn't going to add too much stress to a horse big enough to carry a tanky dude like Arthur comfortably, but a whole second adult sitting behind a saddle is a very different story. Imagine the difference between carrying someone piggyback versus having someone stand on your spine! It's all about the position. Larger breeds can tolerate riding double for a while, but it should not be done for long distances, and it definitely should not be done if a rider expects to need heavy exertion from the horse. Adults riding double doesn't happen too often in RDR2 (usually just during an emergency), so this isn't a critique of Rockstar or Arthur; it's more so a helpful realism note for fanworks. An experienced horsegirl like Arthur is sure not to ride double casually. Pro-tip: If you want someone to teach your (non-bean-sized) OC how to ride a horse, consider having the teacher controlling the horse from the ground via a lead/lunge line while your OC sits in the saddle.

Oof, that smarts... When Arthur picks up hay bales with short sleeves on/bare hands, he makes a soundless "OOF OOOH EEEE OUCH" face. The first time I saw this, I absolutely lost it with glee. Anyone who has moved hay (or straw; they're different!) with bare arms knows how prickly and scratchy and itchy it is, and it's loving little touches like this that make RDR2's horses feel so darn real.

That's all I can think of for now! I hope this list was at least somewhat helpful, even if it's far from an all-encompassing resource on horsey stuff in RDR2. Happy riding, meatverse horsegirls & virtual horsegirls, and remember to always thank your horse :)

#rdr2 #red dead redemption #arthur morgan #horsegirl gamergirl hours #long post #redmeta

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brujahinaskirt · 1 year

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For the longest time, I couldn't figure out a pattern behind the strangers Arthur is drawn to -- the ones he likes, approves of, and generally enjoys. He seems to gravitate to wildly different types of people: dandy city boys and rugged mountaineers, perky showgirls and abrasive weirdos, gentle souls and circus "freaks," friendly socialites and social outcasts. At first glance, it appears he's simply drawn to people who are unlike him, perhaps out of a sense of curiosity. But I think it's a little more complex than that...

I think Arthur is drawn to people who flamboyantly and courageously defy the expectations placed upon them by their communities, parents, and social circles, whatever those circles may be.

[meta essay, mild side-quest spoilers below...]

While Arthur (being naturally artistic himself) definitely appreciates artists of every field, and while he definitely has a soft spot for young lovers (projection much…), that's only the tip of the iceberg.

Just look at the shortlist! Albert Mason, the hapless urbane gentleman who decided to strike out and chase his passion for wildlife even if it cost him his life and career. Penelope Braithwaite, the young suffragette who loathed tradition and the bumbling pretty-boy son of her wealthy family's arch-nemesis. Charles Châtenay, a gender-bending social troll of an artist who gleefully infuriates prudes and puritans everywhere he goes. Sally Nash, the perky aspiring "second-best woman lion-tamer" in the world. Acrisius and Proetus, the feuding academician brothers who eagerly partake in increasingly ridiculous tests of idiot daring. Charlotte Balfour, a rich big-city widow who eschews her former high-life to live simply with nothing but a rifle she doesn't know how to use. Algernon Wasp, the hapless dandy obsessed with eccentricities and craftswork few people appreciate (but who apparently makes excellent tea). Jaime Gillis, the aimless kid who knows nothing about himself except that he likes apples and can't bear to live the life his father wants for him. Hamish Sinclair, the one-legged veteran who rides, hunts, and remains self-sufficient despite the difficulty of rough-living with his amputation. Marko Dragic, the frankly unpleasant epitome of shunned mad scientist. Miss Marjorie and her "sons," who fight tooth and nail but somehow find a way to love each other in the face of civilization's rejection, a mirror image of Arthur's own outcast family.

Arthur doesn't just begrudgingly help these particular strangers; for the most part, he really likes these people, writes about and draws them favorably in his journal. Admires them, in a way, as foolish and imperiled as they often are.

While it seems the people he likes have little in common with each other, and often little in common with Arthur, they've all boldly done something Arthur himself is trying to find the courage to one day do...

They don't behave. As big and bad as Arthur is in the world at large, within the confines of his own community, he's extremely well-behaved. He does what's asked of him and plays the role of the big baddie gang lieutenant, which is what his elders tell him to be, even when it's in direct conflict with his wishes and (if honorable) his morals and perhaps even his "natural" personality.

tl;dr: Arthur likes defiers of all kinds, because they prove that defiance can be done. Not just simple defiance of laws, but a deeper, more complete defiance. Defiance of the expectations of family, of the roles dictated to you by those close to you, of responsibility heaped upon you without consent -- and yes, even of Dutch.

#rdr2 #arthur morgan #red dead redemption #more meta alas #last one for a while i promise i know how to be quiet do NOT hit me with toxic moonshine uwu!!#redmeta

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brujahinaskirt · 3 months

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CLEARLY He's British, of Course has severe age problems and is thereby incredibly easy to contort into transphobic messaging, but I have to say I think it's strong evidence for, at bare minimum, an Arthur who is intimately In The Know. cause like. my prince did not bat a single fucking eyelash. he wasn't even surprised. not even one question about it. not even like "whaaaa why the hell are you dressed like that?? Margaret??? Huh?????" Sure he gets cheesed off at Margaret later (only when it's clear Margaret is made of lies) but at that first meeting? Easy. Whatever. Cool story, madame. Normal life hours. My dude stumbles upon a man in a frilly dress cursing Daddy in the wilderness and Arthur's just like sure you got it queen. No thang.

#rdr2 #arthur morgan #redmeta #everything to me is at some level evidence of vandermatthews

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brujahinaskirt · 1 month

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One thing that will always be kind of strange to me about Eliza is the nearly ubiquitous assumption in fandom that...

[Major spoilers under the cut!]

... Eliza wanted Arthur (a known murdering outlaw) to be extremely present in her life and in her son's. The assumption without doubt, in other words, that Eliza wanted to be the wife of a dangerous man she had a single roll in the hay with. That Eliza wanted him to raise her child.

Absolutely not shit-starting btw! I think that's a completely valid interpretation; we know almost nothing about her or the situation of their entanglement. Maybe she was in love with him. Maybe she didn't know the extent of what he was. It could certainly have been that way.

But it is odd to me that I almost never encounter any other view of Eliza besides "she wanted to be Arthur's wife and live a traditional homesteading life, but Arthur was too owned by Dutch in his youth to even consider hanging up his gun belt." I have not found any compelling in-game evidence to support the former half of this theory's near-complete dominion over fanon regarding these two. (Well, save for the general historical period as evidence, but that is a wobbly case at best considering Arthur's presence in a woman's life would hardly normalize or stabilize it.)

Eliza was a waitress (so a young woman with a job) who was independent enough to willfully risk a one-night stand with an outlaw, or at the very least a man who could barely hide his shifty background. I think it's unfortunate to limit all our interpretations of her to the typical, conservative, nuclear-family-oriented reaction to such a situation.

Personally, I would enjoy a take on Eliza where she felt more comfortable keeping Arthur at a safe distance, limited to occasional visits and financial support. Or a view of Eliza where she wanted little to do with him and attempted to refuse his help. Or a view of Eliza where she was willing to be uprooted but Arthur/Dutch refused. Or just anything new, really, beyond the tragic and too often faceless pregnant woman pining for her rambling lover and wishing for a ring on her finger.

#rdr2 #arthur morgan #eliza #isaac #redmeta

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brujahinaskirt · 2 years

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Okay! I fully admit the Charles Châtenay missions are on the overbaked side, and "French libertine" is an exhausted trope, but there is something I do, unironically, love about them...

[The Artist's Way spoilers & another rambling essay under the cut!]

... and that's how Arthur reacts.

Never with machismo, never with hostile masculine heterosexuality, never with dismissiveness, never with the casual testosterone-driven swagger (i.e., the mean-hearted, bigotry-driven humor) that is so common to gaming and indeed so common of how cismen often respond to the perceived feminine. Truly, the ways Arthur does NOT react to Charles say so much about who Arthur is and how he sees the world.

We see this same lack of hypermasculine hostility/mockery with a few other masculinity-eschewing characters too (the eccentric Algernon Wasp and damselish Albert Mason come to mind, the former Arthur is courteous to if curious about and the latter Arthur clearly identifies with and is downright affectionate to). But something about the Charles quests hit different... Frankly, I fully expected Arthur's snarky sarcasm to devolve into actively cruel, openly anti-gay jeering when I saw Charles come out in that dress, and I remember the way my stomach sank. But it didn't! In fact, I argue that in many respects, Arthur's writers went in the exact opposite direction... that is, the opposite direction of the cheap bigoted potshots some folks at Rockstar clearly misunderstood these stranger missions to be.

Give me a few bullet points to break it down and explain what I mean...

Arthur doesn't "get" Charles's artistic style at first, sure. But it isn't because he disapproves of the content or because he dislikes it; it's because his own style and subjects are so different. Arthur, like Albert, deals in the wildlife and environmental aspects of natural beauty. Charles? He deals in another form of natural beauty: human bodies in their purest and most "uncivilized" state. This is a critical distinction, and by approaching the topic through art, we also learn something else about Arthur, a character who engages in no canon sexual acts throughout the course of the game, on- or off-screen.

And that is this key element of Arthur's characterization: Though he is decidedly nonsexual, Arthur isn't repulsed by Charles's sexualness or the sexual nature of his art. On the contrary, Arthur reminds us that being a nonsexual person does not have to mean being prudish, theocratic, or anti-sexuality.

In fact, the only time Arthur scolds Charles is when he sternly reminds him of his responsibility to his women lovers. Given the historical period (and that several of said women lovers were married during their affair), this strikes me as less about chivalry and Christian family values and much more about basic kindness to women, who are at far greater risk of social & financial ruin due to extramarital affairs than men were. (At least when it comes to heterosexual affairs.) Arthur knows this quite well, given his own adoption of familial duties for Abigail when John abandoned her.

Arthur doesn't just blandly "accept" Charles, oh no. He is actively, unignorably delighted by Charles's sexual expression and the way it undermines the prudishness and aggressive sanitation that is the Christofascist American society law and order has long enshrined. When Arthur realizes the scandal Charles has caused and why, he quickly erupts into bemused, open, genuine laughter for one of the precious few times in the entire game. He's not laughing at Charles; he's laughing at the chaos around him, at how easily Charles used his art to crumble the veneer of respectability (shocking wives with more than a few saucy nudes of their husbands in the process). As he laughs in glee, he immediately jumps to Charles's defense to protect him from the backlash of his rebellion against social mores.

And when Arthur encounters Charles while he's disguised in the infamous dress? Not a second of condemnation or disgust, not one. Just innocent, earnest confusion -- "why are you dressed like that?" -- and once he understands what's going on, Arthur never mentions it again. He rushes Charles a little when Charles stops to flirt with some sailors, but he doesn't do so because he's scandalized; he wants to get Charles to safety and would rather avoid a fight. When Charles cheekily seduces a disrespectful man who attempts to solicit him for sex, sending the guy stumbling away in surprise, Arthur laughs again. And again: not at Charles, no, but at how easily Charles scandalizes and shocks and undermines just by being his outrageous self. He has fun with Charles, not at Charles's expense; they laugh together at how easy it is to crack the oppressively straitlaced "civilized" world that cannot face its own debauchery, deviance, and desire, and how that world flounders instantly without its security blanket of sameness.

Arthur depicts Charles relatively favorably in his journal. Charles gets multiple sketches and I think the one of his dress is quite flattering in pose and effort. Arthur also muses hopefully that maybe he'll run into him again in the South Pacific.

And personally? I think Arthur is an incredibly good sport about being the recipient of an extremely dramatic and extremely public gay kiss. He's flustered, sure, but it's clear from his quick recovery it's not because he's been emasculated or because he's repulsed; it's because Charles crossed a personal line. Perhaps a line that has something to do with the fact Arthur literally doesn't kiss anybody else in the entire fucking 200-hour game (!) and quite probably for many years before it, too.

I wish r* had done a better job of framing these quests so that we too were asked to laugh with Charles and Arthur and not at Charles. As it is, I feel as if I'm watching these two characters share a moment of impish and warmhearted joy, a celebration of hell-raising and sexual freedom antics at the expense of puritans... and meanwhile, the cutscene staging is asking me to laugh at a bad makeup job and hairy French man boobs. Alas, the cinematic team was just not in on the real joke.

But Arthur was. And for a character whose physical design is in many ways rugged masculinity on horse steroids & cocaine, I think that's pretty damn grand.

#rdr2 #arthur morgan #charles chatenay #red dead redemption #redmeta

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brujahinaskirt · 5 days

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I will never shut up about how Kingdom Come: Deliverance is the most tenderly written game served to the most loutish horde of jackasses. I think it is possibly one of the greatest pieces of popular fiction made about feudalism in recent history, even if it's not always the most historically accurate.

And that's because the whole damn thing is about the profound, authority-enforced inhumanity that self-propels feudal order... but this time, it's written from the perspective of, for lack of better word, "humanity undermines, and humanity wins."

Love wins, if you want to be cheeky.

This was originally meant to be a reply to @feelinungry's excellent post on the subject, but it outgrew itself and got super bloated, so I'm plopping it in its own post to not be obnoxious...

KINGDOM COME: DELIVERANCE MAJOR SPOILERS BELOW

And the reason all this about humanity and love is so important to the core of the story, to the very backbone of the narrative (even beyond the plot), is that it exists in opposition and to the impairment of the feudal system. Kingdom Come: Deliverance means to teach us, by way of deeply dramatic plots following individuals, how feudalism works and why it worked the way it did. And why and how that system fails.

The vehicle by which the game does this is by showing us, over and over, how the stratification of feudal class is eroded and sometimes outright dissolved (either in general, as with Henry and Hans, or when it matters most, as with Radzig and Henry) by plain and simple love.

Feudalism, like most class-stratified systems, relies upon 1. dehumanization of those beneath one's appointed status; 2. fealty (mock-love) to those above one's status, their title-appointer class; and 3. the maintenance of a deep separation between these artificially bestowed statuses, as enforced by church (as in word of clergy, not word of god) & state (legal rules and law). Those words and laws existed to propel the system by divide-and-maintain (of the workforce populace, placing it firmly below the next class in line, etc.) in the service of unify-and-profit (for the ruling class).

Sigismund & his invading army are wholly separated and adherent to the feudal theory, even if they have flouted codes of warfare & inheritance; they are presented to us as the main dehumanizing force of the story world, a wave of Order that indiscriminately burns opposition flat rather than an individual leading a royal coup, a cyclical destruction that paves the way for the next flavor of rule to continue the feudal system ad infinitum. They're thoroughly separated from the story even when they are burning down a village in front of our eyes and generally move as one, with Markvart occasionally stepping out of that mass of Feudalism and its antihuman nature to give it a face. They're more a force of nature than an individual as far as the narrative goes.

And we are meant to understand that in sharp contrast to the "close" story, the cast we get to know and watch as they attempt to answer this force of nature. And the second we see these characters get close enough to each other, by raw proximity, to poke a pin into the wineskin of feudal order as dictated to them by authority, it bleeds--everywhere. Not in the sense of ruination but in the sense that a tiny wedge of empathy cracks open the dam and leads, yep, to rehumanization--and love, the most human driving force there is.

And that changes everything, for everyone. Not just internally, as with a character's personal development arc (i.e., Hans learning why his duties, which he resented and viewed as an impingement on his freedom when dictated to him by authority, are incredibly important for real people who experience pain) but externally as well (as @feelinungry so elegantly points out in the original post).

Over and over, at every stage of the story, it's the rehumanization of and by these decision-makers (at a family level, at a community level, at a regional level, at a national level) that cracks the feudal cycle, even if in very small ways. Hans really brings this back home in a petri dish in late game, after the siege, when he complains to Henry about the noble's code (letting Istvan go) potentially leading to pain and disaster for the common people Istvan's machinations are likely to harm in the future. He chafes--and we chafe, and so does Radzig, and so does Divish--against feudal stratification because he has learned a general empathy through loving an individual, and that has in turn reshaped the way he sees the world.

And that's exactly why and when feudalism begins to fail, and why it thrashed itself the way it did, from the enforcement of sexual mores (though this wasn't exactly like it is in movies) and gender law to terror upon its own populations.

And it's the crucial understanding I think we begin to forget after being exposed to so much Hollywoodification of history, where the oppression always exists for cruelty's sake alone rather than in active and deliberate service to a political construct.

And I think it's why we've "lost the plot" so horribly when it comes to understanding that people in history were still people, not monolithic one-mind entities (as the feudal system demanded they be). And why we somehow forgot that such people fall in love, in all kinds of love, in a way that has never given a damn about authority. And that this in turn undermines supposedly supreme authority, even divine authority, and will always continue to do so, as long as people are people.

This is what it always comes back to. Always. From Henry's parents and their mysterious bond with Radzig informing the protagonist's journey from "the past"--to Henry & Hans falling into stupidly fierce soulmatehood with each other in the present--from Istvan & Erik's destructive fuck-the-world romantic love on the "enemy" side--to Divish's humbling, humanizing realization that he loves Stephanie in some way, he really does, despite the chasm of age/gender enforced upon them by their adherence to feudal order that doomed their romantic love to failure.

People will always love each other, even when the world orders them not to, even when faced with death and worse. People will always, given proximity and shared experiences, learn to see each other as human again. KCD reminds us of that. It's why the "slow" storyline exists and why it works.

And that is why this game is so fucking fantastic, and why the genpop fandom has utterly failed it.

#kingdom come deliverance #kcd #kcd2 #henry of skalitz #hans capon #radzig kobyla #divish of talmberg #stephanie of talmberg #redmeta

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brujahinaskirt · 1 year

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This is barely coherent as a meta post but I have to get it out because aaaaaah (!!!!) I love, i REALLY LOVE, how much Arthur loves Abigail.

Jack too, of course, but I don't want to lump them together for the sake of this post. I specifically love the non-romantic but deeply true love dynamic between Arthur and Abigail.

[yet another longwinded gush-essay under the cut...]

It's just so rare to see a relationship like this in media, especially games! They love each other without embitterment, without either of them secretly wanting to pursue the other, and without any tacit expectation of repayment (or hope of romantic feelings developing one day).

I don't dislike Arthur x Abigail as a ship in theory so much as I just love the nonsexual, no-debts, no-expectations unconditional family love and loyalty between them WAY more. Even Arthur's diary entry about how he regrets being too caught up on Mary to do the culturally/historically "right" thing and marry Abigail (especially now, after Jack is born/John runs off...) is, to me, transparently more about how much Arthur personally adores Abby & Jack and the hope they represent, and how much he wants to see someone do right by them, than it is about Arthur having some kind of hypothetical secret crush on Abigail.

All their interactions are so devoid of sexual desire or romantic longing! Hell, they're often annoyed with each other, the sort of teasing & snappy attitude that comes from knowing someone so well and being assured that a pissy day won't fray the relationship. I love the familiarity of that alone, but there's also just so much sweetness and genuineness in how Abigail asks Arthur if he's okay, in how she smiles when he comes to say hi to her and Jack, and in how openly she allows herself to sound really sad around him. There's so much care and selfless love in how she encourages him to pursue Mary (to follow his heart, like her) despite what the other women at camp say, and despite knowing that Arthur successfully fulfilling his dream of a life with Mary would assuredly end (or at least massively reduce) his ability to economically provide for Abigail & Jack and to be there for them physically.

aaaah!!!! There's so much obvious and unrestrained warmth and affection in how Arthur says "Hello Abigail." There's so much openly petty sulking when Abigail loses at dominoes to Arthur and equally petty bragging when she wins!! There's so much benevolent planning on her part to arrange for Arthur and Jack to spend time together just the two of them (even though Arthur makes an incredibly weak and see-throughable effort to sulk at her re: being nudged aside by John's return). And yet she takes so much care to continue incorporating Arthur into their weird wounded little family even after John's return. There's no hesitation in Arthur's frequent checking on Abigail & Jack (and making sure John isn't mistreating them) and helping her raise him (though critically, NOT as a father replacement, but as Uncle Arthur). And there's no hesitation when Abigail comforts Jack by reminding him that she and Uncle Arthur are always there for him, even if his father isn't.

AAAAAAH!! There's so much trust and concern between them, ending with Abigail's signature choice to trust Arthur by giving him the key, essentially choosing to trust him more than she trusted John, the man she's in love with. There's so much genuine fear in Arthur's eyes and reluctance to break her heart by giving her the news of John's apparent death/capture, even though he knows he has to do it, and there's so much unspoken understanding between them when he gestures to help her off the horse--and in her acceptance, as if she knows he needs to try to comfort her physically because he can't find the words to comfort her. (And yet, he does! He instinctively knows EXACTLY what Abigail needs to hear, a surehearted confirmation that John DID love her, something that Arthur himself has long doubted and worried over, but that he clearly sees Abigail needs to get through that awful moment without collapsing. He knew her deep-set fear, that John died without ever really loving her and it it was all for nothing, and provided her with the faith she needed to keep moving.)

Though Abigail loves John, no question, she doesn't yet trust John in RDR2. But Arthur? Arthur is the one she trusts. Abigail knows Arthur will never run out on her, and Abigail welcomes Arthur in as family (again, critically, as Uncle Arthur, not as a John Replacement) in a way he badly wanted & needed to experience but likely never would.

Rockstar could so easily have made Arthur into John's bitter, crusty, desire-driven rival for Abigail's romantic attention. That was assuredly perhaps the easier/more obvious/lower-hanging-fruit writing decision. But they deliberately made the choice to avoid desire as a component of their attachment to each other, they just leaned into the family devotion. Screw you Dutch, this is the REAL faith in rdr2, and that's goddamn beautiful.

aaaah i can't get over it

#rdr2 #arthur morgan #abigail roberts #red dead redemption #redmeta

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