Can you expand more on Ratio's philosophical influences? You seem super knowledgeable!
I've been sitting on this for some time because I didn't know what prompted this message and thus I didn't know what to answer and how. I guess it may be the comment I wrote about him having a socratic but also a sophist air?
There are a lot of details in Ratio's overall design that point towards philosophical references. I want to draw attention to the fact that since this is a vague message on anon I don't really know what to focus on or what could I skip because it's information already known, so what I'm going to say is a very brief summary of many ideas, which of course makes such ideas but the shadow of an echo of themselves, so faint they almost become untrue. I fervently advise to look more deeply into any of this if something catches anyone's interest. And I also want to point out that the problem of knowing a little bit of something, even its existence, is that seeing turns to seeking, and an excess of seeing is also a blindness; what I mean by this is that I'm not sure how much of what I am going to say was intentional by the developers/writers and how much is just me suffering the blindness of seeing too much haha
However, I also want to clarify that I do think many of the things I’m going to say are present even if perhaps not intended by the writers/designers. This is due to the fact that Ratio’s main influence is platonism, and platonism is everywhere in western philosophy and in general western culture; once you see it you cannot unsee it. So perhaps I am reading too much or making correlations between things in his design that were not meant to be linked, giving a depth to the character that is probably incidental, but that I would say nonetheless exists because it pertains to a certain philosophical tradition in which the elements stem from each other. I hope this will become clearer in its development if it isn’t right now.
Ratio has an Apollonian air. At first that and his mask made me wonder if he was going to be linked to the Mourning Actors, who alongside the Masked Fools for now remind me a lot of the Nietzschean Apollonian and Dyonisian dichotomy. This was conjecture on my side so I won't go on about this on this ask.
Ratio retains however the Apollo air. When I saw his splash art he reminded me instantly of the Belvedere Apollo, down to the strap under his chest like the sculpture has the quiver's strap. His sixth eidolon too recalls that sculpture, since it seems to be a mix of the pose in Michelangelo's David with the cloth in the Belvedere Apollo. Among other things, Apollo is a god linked to truth, medicine, archery and divination. The owl seems to be a reference to Athena, though.
Ratio also has the laurel or bay branch on his head, which is one of Apollo's traits. Laurel on someone's head became linked to victory as well as academic and artistic merit (I know in Italy people still use it when graduating, for instance; I mean, that's where the word comes from). The fact that he has half of it is most likely due to an aesthetic choice, especially given how the character designs are pointedly asymmetric in this game; however, I think it works well with how, no matter how much he achieves and how hard he tries, Ratio is never gazed upon by Nous nor accepted by the Genius Society with the frustration, bitterness and questioning that brings both himself and others.
This last point, being ignored by something akin to a divinity, works also with his Apollonian air, I'd say. Given his Apollo look, his snake-like pupils made me think instantly of Delphi. Delphi was where a temple to Apollo was (linked to a mythological snake, and snakes thus became associated with Apollo in imagery), and it was famous for its prophecies. Socrates (the master of Plato and main figure in his dialogues) is said to have started the habit of questioning he is mostly famous for because a friend of his went to the temple in Delphi and was told by the Oracle that the wisest man in Athens was Socrates. Socrates was perplexed by this because he knew nothing, and started posing questions to supposedly erudite people about the matters about which they were experts, only to come out of that feeling unsatisfied with the answers. Thus, Socrates thought the Oracle may be right after all, but he was only the wisest man because he at least knew that he knew nothing.
This works very well with Ratio because Socrates starts the journey by being distinguished among his peers, gazed upon, by a god (Apollo was supposed to possess the Pythia, or at the very least the prophetic power came from him), while Ratio never gets that recognition, and seems resigned to that already ("If this day I have not gained the recognition of Nous, it stands to reason that I never will at any point in the future" and "One day, I received a letter from the Interastral Peace Corporation (...). I could tell the solemnity of the invitation, so I excitedly passed it on to Mr. Ratio. Yet, he said nothing. I could sense his heavy silence even through the headgear. He then politely asked me to leave. The moment I closed the door, I heard a grim sigh followed by a self-deprecating laughter... Perhaps he realized he would never be accepted into the Genius Society..."). The mix of arrogance and humbleness, although enhanced in Ratio in a comical degree, is already somewhat present I would argue in the way Socrates talks in Plato's dialogues. Arrogance was also a trait Heraclitus, the author of the line cited in the name of his banner (“Panta rhei”), was famous to have.
So Ratio takes the position at the IPC. The Intelligentsia Guild is "often seen as a vendor of knowledge", and is looked down upon by the Genius Society. This is where I think the philosopher/sophist dichotomy comes in. Sophists were teachers, and were paid. They also were known to use rhetoric to convince (I would say there's a reference to this in one of Ratio's daily messages). In the political landscape of Athens, they were very useful for young men interested in politics. Some sophists became quite rich and famous. Usually philosophers, who didn't receive any money and did everything for the "love of knowledge" itself, looked down on them. At least in the texts of Plato that's often the case, although some sophists are portrayed under a better light even there; btw many of the things I've been saying come from Plato, but since this is an intricate subject on its own that isn’t directly pertinent to the ask I won't dwell on it right now.
Education in ancient Greece consisted of both intellectual and physical training. Intellectual education included music, poetry, mathematics, astronomy,... Physical fitness was held as something very important in a young man's curriculum as well. I think this is where the fanservicey choice of making Ratio so fit and pretty comes from. And I say “pretty” because beauty too is an important concept for Plato, and ancient Greece in general. It is also part of what linked the need of a young man to develop himself both intellectually and physically. Beauty is linked to harmony and order, both on an individual basis and cosmologically, often in some philosophical trends to a mathematical level; pythagoreanism has a lot of this.
Indeed I think pythagoreanism has to do somewhat with Ratio's design, considering his link to mathematics and geometry, and given his name ("Ratio" made me think of the golden ratio and in general pythagorean ratios even before it made me think of "reason" tbh), but in general the main philosophical reference in Ratio seems to be Plato, who was influenced greatly by pythagoreanism; this is one of the perhaps unintended indirect yet present links I mentioned at the beginning.
Platonism is very present in many ways in Ratio. It's noticeable even in his visual design, with how buff and handsome he is, arguably the references to Apollo and Athena, the geometry imagery, and even the sculptures he creates with his technique, but the influence is seen throughout his entire character, story, dialogue lines,... Part IV of Ratio’s character story, the way he talks with Roseth and what he says, has in my opinion an echo of platonic dialogues, as does his line “To spread knowledge, we must first make people realize their folly” recall Socrates. In the Trailblaze mission the main character had to argue for their innocence, which to me brought to mind the Apology of Socrates. On the other hand, the way this was done was very reminiscent of the socratic method, both in the discussion and counterargument mechanic of the game as, and especially so, in the use of memory. The main character had already the knowledge they seeked, yet they had forgotten about it, and had to retrieve it through memory guided by the intense questioning of Ratio; this, if applied to the research of a more essential knowledge instead of circumstantial, is the core of Socrates' maieutics. Maieutics is "midwifery". Socrates called by that word his method because he thought he was helping give birth to truths or knowledge that were already present in people's minds, if forgotten. It's what Ratio's skill, "intellectual midwifery", references.
The fact that Socrates' method, the "intellectual midwifery" to put it in in HSR terms, works in platonic philosophy is because it is taken that there are eternal truths, something Ratio believes as well (“The beauty of truth is that it never changes, even when no one understands it. Well, that's true for me, at least”). This has to do with what is called the theory of Forms or the theory of Ideas. The world that we see is but the shadow of that other conceptual abstract world, of which we have but forgotten memories and that we can access only with the mind's eye. Our soul once saw/was part of that other world, which is why it can remember it. Plato was influenced by the pythagorean view of a sort of journey or reincarnation of the soul after dying, to put it some way. This is also extensive, it has to do with orphism, is at the core of a lot of philosophical and theological western traditions, and thus I will say only this, even though it feels very close-to-fake simplistic haha. To summarise, there’s the other abstract perfect world of which everything in this world participates from and is but the shadow of (everything beautiful participates on the Idea of Beauty, eternal and inextinguishable, but it’s never as perfect as that Idea, only but its echo). The idea that the world is but the shadow of the other world is present in Ratio's English line when he is ko-ed, "Mere flesh…" (in Chinese, though, if I’ve understood correctly he says “«Mediocre»… hah”, which is very different if still lore-heavy). This of course implies a strong ontological dualism.
In this sense it is extremely interesting to me that Ratio’s banner is named “Panta rhei”, because Heraclitus is the epitome of the defender that all things were in constant change yet all things are One, the process of “becoming”, the constant struggle, at the core itself of reality (this too is harmony). He was pointedly monist, and is often contrasted to Parmenides, who spoke of eternal unchanging truths and beings. Both are cornerstones in the development of western philosophy and influenced Plato, but the choice calls my attention. In the Japanese wiki the line was linked/took to the buddhist concept of impermanence; while not necessarily related to that, this wiki suggestion made me wonder whether the choice of making “Panta rhei” the name of Ratio’s banner was done to further enhance another aspect of the many parallels between him and Ruan Mei, who also talks about life as something seemingly diverse and changing, hopes to obtain permanence, and talks about a something that transcends the multiple faces of life and that unifies them all (“Life is countless and varied in form. I firmly believe in that. Its beauty is like a myriad of flowers, and I want to pluck the one that never wilts”; “I wish to discover "the true essence of life," something that all individuals possess unknowingly, whether it is the materialism of their existence or an unknown entity beyond corporeal realms”; “The core of all existence is unity”). Even beyond that, in the context of everything else Ratio has going on, the mention of Heraclitus brings very intriguing food for thought to the table; yet I think this may be another instance of things that are, yet were most likely not meant by the writers.
Moving on, I’ll give a quick comment on the more explicit philosophical references we can find in Ratio’s traces, attacks and voicelines, and will dwell a bit only when I think they work well with the subjects and concepts I already commented Ratio plays with, otherwise this response will be eternal.
Summation (trace): in Chinese this is more clearly linked to the inductive reasoning, which in context it is obvious this is what this trace references; I don’t know why they chose to translate it this way. It is a method of reasoning that comes from the observation of particularities to generalisation, hence “summation”. It works well with Ratio causing more damage per debuff, and with the references to empiricism in Ratio’s attacks. The consequences in inductive reasoning are not truly ensured by the premises (the typical example is how you can’t ensure that all ravens are black by as many black ravens as you observe).
Inference (trace): this baffled me because again it is more clear in Chinese that this is referencing deductive reasoning, but every language translates “inference”, whereas in the “deduction” trace the characters are exactly the same as the ones in the Chinese wiki for “inference”, but every language translates “deduction”. I don’t know what’s happening here, I wish I knew Chinese and found this less confusing, but at least both words are present in his traces. Deductive reasoning is the one that goes from premises to conclusion. It is heavily linked to logic and it doesn’t necessarily require empiric knowledge.
Deduction (trace): this is what is called “inference” apparently in Chinese (if someone knows about this I would love to know what is happening in Chinese in these two traces). Inferences are, well, the process of reaching conclusions. It can be either through deduction or induction (or abduction, some would argue, but that’s another can of worms).
Mind is might (basic attack): in latin this is “scientia potentia est”, and while at this point the line is very detached from its context, initially it was linked to Bacon and Hobbes. I honestly think this is just a very convenient name for an attack of a character following a philosophy/sciences/knowledge thematic.
Intellectual midwifery (skill): Socrates, and platonism. I talked about this before.
Syllogistic paradox (ultimate): Syllogistic paradoxes were one of my favourite things when I was studying. Syllogisms are a form of logic reasoning, which consist of two premises and one conclusion. Though the premises may be true, and though the reasoning may be sensible, at times contradictory or illogical conclusions may be reached. This is a syllogistic paradox. Why this happens is because of a myriad of reasons, like the differences between natural and logical language, or the development of theories (the paradoxes in set theory are among my favourite things ever). I personally like to draw a strong distinction between paradoxes and contradictions. Anyway, I have a lot to say about this haha In general, this is what the name of the ultimate is referencing. It works well with Ratio’s traces. It also goes well with some of the other subjects present in his characterisation, like platonism, Descartes and such; there are a lot of paradoxes that arise from many of the theories that play with such topics. I think reading Alice in Wonderland’s apparent madness through the lenses of logic makes us see that most of those incongruences are actually pretty logical; many of them iirc are syllogistic paradoxes. Carroll was a logician. I mention this because this, as well as many other ideas present in Ratio, work extremely well with Penacony.
Cogito, ergo sum (talent): this is a line by Descartes, a rationalist. This too is something that fits Penacony incredibly well. Descartes starts doubting knowledge, ends up questioning pretty much everything, establishes inspired by mathematics and logic a method of acquiring the truth, and in the research of true knowledge he starts doubting everything with a methodical doubt to be able to tell what knowledge stands after being hit by doubt, and why, and try to reconstruct knowledge from there. Ratio’s lines about “seeking answers with a negative hypothesis in mind”, “When one is immersed in academic research, scepticism comes more naturally than belief” or “Pursuit tinged with negativity is still pursuit, and it is capable of leading us to the right conclusion” reminded me of Descartes’ method. One of the steps in the process is doubting one’s own existence, but since I (pardon the “I”, but the first person is very important in Descartes) doubt, then I think, and since I think, then I exist; cogito, ergo sum. This is closely related to platonism in some senses, and while Descartes’ philosophy comes in part from a criticism of scholasticism, it still has ties to it, but Descartes was a massive breakthrough in the history of Philosophy. I also won't dwell on this, but this is fascinating imo haha
Anyway, Descartes’ doubt about the existence of reality, of the world, is heavily linked to dreams, because in dreams we believe things are real but are not, so equally we could be at every moment in a dream and not be aware of that; only the existence of oneself is clear of this doubt (Zhuangzi’s text about the butterfly plays with this too; I comment this because butterflies have appeared in Penacony and the Zhuangzi’s text seems to play in an interesting way with the concept of “I”, taking it a different route than Descartes, which is a very intriguing idea but I don’t know much of Chinese philosophy at all). The concept of simulated realities, Matrix-like settings and such, all are strongly linked to this conception of Descartes, even though similar things existed previously (such as Plato’s allegory of the cave), and this works very well with Penacony again. Obviously, Descartes’ theory is strongly dualist, and it’s even established a body-mind dualism. The idea of the ghost in the shell also comes in great part from Descartes. Descartes’ view of the body was not too unlike that of a machine.
This was in a time in which clockwork and automatons were quickly advancing and fascinating people. Physic theories started to look (even more) like clockwork, with the universe as clockwork and god as a watchmaker that put it into place and then let it run its perfect course, needing or not (depending on the theory) adjustments from the watchmaker from time to time. I said before that harmony was linked to both the cosmos and the body, with the body in part being a reflection of the cosmos, and even linked to it by the harmony of the spheres. This new way of approaching the cosmological and human issues and developing Physics still has echoes of that. Newton, who is referenced in one of Ratio’s idle animations, is one of the epitomes of this concept of the universe as clockwork. Again, I don’t know how much they’ll do with these ideas nor even if they were written on purpose, but it all works so well with Penacony it would be a pity if they did nothing with this.
Another thing I want to note about Descartes is that besides mentally detaching himself from everything while doubting in his deconstruction and construction of knowledge, seeking undoubtable truths, he famously did so physically as well for some time when he first started thinking about the matters in his Discourse on the Method one night: “having no diverting company and fortunately also no cares or emotional turmoil to trouble me”, while he “spent the whole day shut up in a small room heated by a stove, in which I could converse with my own thoughts at leisure”. This reminded me a lot of Ratio’s head and how he uses it: “with the headpiece on, isolated from my five senses, i can think without interference”, “he put on a headgear to keep away all external distractions and completely focus on thinking? Who else in the world could manage that?”.
Mold of idolatry (technique): this links mainly again to the theory of Forms of Plato, with that representation of something else that is what is real. The name of the technique and what it does works well also with the idea of idolatry, especially of idolatry of false gods, idols or even falsehood in general, and how Ratio criticises people’s blind infatuation with geniuses. It also reminds me of Nietzsche’s Twilight of the Idols, or, How to Philosophise with a Hammer. Among other things, Nietzsche heavily criticises platonism and platonic philosophy, and mostly all western philosophers (he has kind words for Heraclitus, for instance).
Wiseman’s folly (ultimate’s effect): the idea that knowledge or beholding the truth brings to something similar to madness or ends up leading to foolishness is a very common one. Many of the Ancient Greece philosophers were said to have been extravagant. Diogenes the Cynic and Heraclitus were two such examples. Democritus was said to have plucked out his own eyes. Empedocles is said to have killed himself in a volcano. There’s Nietzsche, Georg Cantor, Kurt Gödel. It is the idea of the wise ending up being very much like the fool, but also the idea of the wise ending up losing sight of basic truths I believe, in that alienation from the world.
Know thyself (eidolon): this is what was inscribed in the temple of Apollo in Delphi I spoke of before. This is linked to Heraclitus, Socrates, Plato and platonism, of course. I think when it comes to Ratio that’s it, really. But this maxime has had a lot of implications and interpretations in different contexts and at different times. It could be seen as just a salutation, recommending temperance, the idea of knowing oneself and one’s limitations as key to succeed when approaching subjects or problems, the first step of getting to know anything at all, humans and the world being closely linked and even reflection of god so studying one helps studying the other, etc.
Vincit Omnia Veritas (eidolon): the translator says this means “eternal truth” in Chinese, which would play way better with the philosophical ideas and concepts present in Ratio while still playing with his name, “Veritas”. I won’t dwell on this because I’ve already talked about the link between eternal truths and Ratio a lot, and besides I can’t even confirm this is the true meaning because I don’t know Chinese.
Eidolon “The divine is in the details” seems to be a reference to a Chinese idiom that comes from a book. I don’t know if it has greater significance, but if anyone knows I am all ears. The other eidolons obviously work with Ratio, but I don’t see obvious philosophical influences so I’m skipping them.
Esse est percipi (ultimate line): “To be is to be perceived”. This is a line by Berkeley and linked to his philosophy. He criticises both dualism and materialism. The core idea is that the world’s existence is entirely dependent on the mind, that things don’t exist unless they are perceived and thought. His justification for one’s own existence seems to come from this perception, as Descartes’ came from thinking: “I do nevertheless know that I, who am a spirit or thinking substance, exist as certainly as I know my ideas exist”. Parmenides has a similar idea in his poem. I don’t think this was intended to be read too much into when it comes to Ratio, but I think it fits nicely with the other topics he has going on, and the dichotomy they often entail. It also works well with Ratio’s plaster head, with how he says “I don't have to set eyes on stupid people. Of course, they don't want to see me either”, with how he uses it to go unnoticed or unrecognised in both Herta’s Space Station and Penacony, and I think it could be overread or taken to more exaggerated levels in a juicy manner reading this under the notion of nothingness, mediocrity and being disregarded by Nous.
One of the listed researched achievements of Ratio is in the field of epistemology. Epistemology is the field that studies knowledge. Although studied in particular at times, it is of course often linked to ontological conceptions; all the philosophical theories I’ve stated carry with them epistemological implications as well as ontological. In one of Ratio’s character stories there’s a mention to epistemic logic which is, speaking broadly, a logical approach to the analysis of knowledge.
Another one of his listed achievements is in natural theology, which is the study of god through reason and logic instead of things such as transcendental experiences or revelations. This is very common in philosophy in general. It often has to do as well with the world as a harmonious whole, god as watchmaker/the universe as clockwork, and teleology. I will mention Newton and Darwin here because Newton is referenced in Ratio’s idle animation, and Darwin because he broke up with the teleological tradition when it came to the world. Ratio’s work is named Aeons: A Natural Phenomenon, and the title and its description, how its “Aeon non-theism”, makes it seem to me like he wrote of Aeons as if they were just another form of life or something that pertains to nature itself and not detached from it, which although very different from Darwin’s ideas did remind me of how he dismissed teleology in nature. This also clearly links, in my opinion, to Ruan Mei.
Other than that I also want to note Ratio’s final speech to Screwllum about inspiring doubt and scepticism when it comes to established ideas and geniuses. It reminded me of Socrates, how he was said to have “perverted” youth inspiring all that questioning among other things. It reminded me of Nietzsche, how he fervently encouraged individuals to use critical thinking, question dogmas and preconceived ideas they could have, and come up with their own conclusions that does not mean necessarily negating absolutely everything they held true before the questioning (this exchange between Screwllum and Ratio: “Screwllum: «You wish to uproot the researchers' blind worship of geniuses». Dr. Ratio: «I am only laying out my questions».”). It also pointedly reminded me of Kant's “Sapere aude!”, “Dare to know!”, and his text What Is Enlightenment?, in which among other things Kant talks about the lack of courage, not of intellect, of people to think for themselves, how humanity lives in a constant immaturity or adolescence of the mind, and urges them to get out of that state, to dare to know. Kant was greatly influenced by rationalism but said to have awaken from the rationalist slumber thanks to empiricism; the plays on rationalism and empiricism, deduction and induction, and the presence of idealism in the rest of Ratio’s writing as well as this fervent push for people to snap out of their lack of criticism and dare to think for themselves are what made me think of Kant here.
There’s more things to talk about Ratio, like his view on mediocrity and geniuses, and how that view is constructed and described in traces through fragments in his lore, the character stories, snippets of conversations; how he seems to be so similar in character and drive to geniuses, but never accepted as one, and how he is regarded as very different and eccentric by “normal” people, even in the Guild. In short, how he is detached from both the “normal” people and geniuses, like suspended between both states without being either completely, and how it makes so much sense in this context that he tries to breach the rift between both. I couldn’t help but mention this, to avoid forgetting this aspect of his characterisation in the future, but I won’t dwell on this because it isn’t really directly linked to any philosophical influence that I can think of.
I think this is it. Hopefully I didn’t forget anything important. And I’m sorry it is so long, but I really tried to summarise. As I said, I may well be reading too much into some of these things, but I also think that since Ratio plays with many of the core authors and concepts in the history of western philosophy, some things I expect were not intended by the writers still are present somewhat, because mentioning this or that thing alongside this or that other thing ends up having implications if you know a bit of the context.
I hope this was clear enough. However, I can try to explain myself better or further if I wasn’t. Philosophy may look unapproachable and dry at times at first, but it really isn't, it just needs one to get accustomed to some basic terminology, and it becomes fascinating and beautiful, and lifechanging haha. I would love it if Ratio is making people get a little bit more invested or interested in it, or open to explore it. The Stanford Encyclopedia of Philosophy is a good place to check the main ideas, texts and authors that may spike someone’s interest if anyone wants to read further about anything I've said or compare sources, but tbh I think even Wikipedia can be useful with getting a first feel of some basic ideas to know what to look for. And although I am not an authority or the most trustworthy source at all, I will help as best as I can if someone reading this has any further question. I recommend reading the texts firsthand though, with historical context in mind and footnotes perhaps if possible, and making one's own mind about everything.
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@dire-kumori (this is, uh. This is gonna be a long one 😬)
It's completely fine if you're not up to date on the fnaf books, especially considering I haven't read any of them myself, lmao. I only know the things that the silly fnaf youtubers tell me is important in their theory videos, so. I don't know very much, and what I do know is probably very biased through their theory-crafting lenses.
But I enjoy me a good Evan and Gregory story, so I'd love to rant a little but more about them. I like the idea that Evan is hiding away somewhere in the Night Terrors recreation of his room, too terrified to leave it. He hides away somewhere that only a little kid would think to go/be able to reach, which is exactly why Gregory (who isn't THAT afraid while playing the game, but is a little menace who likes breaking the game's boundaries and trying to see where he can and can't go rather than playing the game normally) is able to find him.
Maybe Evan is terrified of Gregory at first-- after all, the details are hazy, but he clearly remembers how much the Stranger hurt him for so long, and who says this stranger will be any better? But Evan is terrified and alone and he just wants comfort. He thinks about the weird pictures on the wall of the family with blurry faces, how happy and safe they all look, and after a while of Evan being scared and Gregory trying to calm him, Evan can't help but notice that Gregory looks a LOT like one of the small blurry figures he sees in the family photos (ig technically Gregory should be nothing more than a pair of transparent floating arms if they're in a VR game, but I'll do what I want with no regard to the cruel constraints of logic). And Evan wants the happiness and safety he sees in those photos, so wouldn't it make sense to go with Gregory? (though, Gregory insists the kid in those photos isn't him)
Evan is so broken at this point that he doesn't remember his personality or his name. He can't answer any of the questions Gregory asks him about what things he likes or what he does for fun (though, the difference in technology thanks to them being born so far apart may play into that, too). Gregory has to help give Evan a name (Evan shudders for reasons he can't remember when Gregory suggests the name Freddy).
The last thing I'll say about the Gregory ending (such an original name, ik) is I'd like to think the two of them get out of the game eventually. Despite Gregory’s kindness, Evan still thinks he's too broken and the world is too big and scary for him to continue existing... and then the sun rises. At this point, Evan has spent what accounts to years/billions of nights desperate to survive long enough to see the sunrise but always being brutally murdered before he can. And then! Then Evan feels the light and warmth ghosting against his skin for the first time in god knows how long, he sees the brilliant pinks and oranges and reds of the rising sun, and he falls onto his knees with tears in his eyes. "I made it," he whispers. "I finally, really made it."
The happiness is almost enough to make his soul move on right then and there. But... it also fills him with hope that maybe this world and the people in it are worth surviving for after all.
Okay, moving on!
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Oh gosh,, the idea of "Michael" trying to take control of the game in order to turn it into a safe haven for Evan!! It's such a painfully sweet idea... except, I can't help but wonder if Michael would even know what a 'safe haven' for Evan would look like-- let alone if the Fragment would know, since the Fragment has lost everything that makes Michael, Michael and is just the remnant of an instinct to keep Evan safe. I feel like the "safe haven" that the Fragment would make for Evan would end up being empty and hollow, devoid of any real meaning or happiness. It's nothing but an empty paradise filled with false promises of what the Fragment thinks a little kid SHOULD want but is devoid of the love and affection that Evan NEEDS. I'm having trouble coming up with any examples, though. Maybe it's like the Other World in Coraline, but instead of a greedy, hungry monster being in control of an empty world of lies, it's a monster that WANTS to help Evan but doesn't understand how.
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And the idea of Glitchtrap using Evan against the Fragment is positively delicious :3
I'm going to make William and Mike a bit more sentient than you originally intended for a sec, though. I like the idea of a manipulative, silver-tongued William turning Evan against his brother. Maybe William even takes advantage of the fact that Evan (and probably Mike) never found out or knew why he got trapped in the Nightmare in the first place; maybe William frames the whole thing as Michael coming up with another way to torture Ev for fun. I wonder how Evan would respond. Would he listen to his father (whether or not Evan even recognizes this person as his father) telling him Mikey deserves this, take out his frustration on Mikey and hope that he can rest once Mike is gone? Or does Evan break, because as much as Mikey has hurt him, he doesn't want his brother dead?
And wouldn't it be interesting to see how Mike/the Fragment responds to Evan attacking him/it? The Fragment wants nothing more than Evan to be happy, so it must glitch the hell out of it when Evan tries destroying the Fragment. It's just like what you wrote about Mike being torn when Ev begs Mike to stop trying to save him in the Nightmare; the Fragment's entire existence is to keep Evan safe and happy, and it needs to be present so it can do that, but if Evan wants it gone... how is it meant to fulfill both objectives at once?
Though, I'm also curious about how this au could tie back into Security Breach. Maybe the Fragment does end up winning control of the game from Glitchtrap, so Glitchtrap runs to the only place he can: Vanessa. And maybe he drags Evan with him, or perhaps Evan goes *willingly* if it means escaping from the Fragment/Stranger that tortured him for so long. Security Breach still happens, but this time, Glitchtrap has Vanessa AND Evan under his control. Maybe he even uses Evan’s ghost to try tricking and manipulating Gregory as well. And all the while, Michael has to try to figure out how to get out of the VR game and back to protecting the ghost spirit whose name he no longer recalls.
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AND THE FRAGMENT BEING A YOUNGER MIKE IS SO COOL! Maybe it could be the reverse of what I described with Evan and Gregory, where Evan sees another lost and scared kid his age hiding away, just like him, and decides "i am not leaving you to face your horrors alone." Neither Evan nor Mike have any memory of who either of them are, but they're both lost and alone and terrified and cling to each other. They're the only thing that either of them has, and vow to get through this together, sort of the antithesis to how isolated they were in the Nightmare. Very depressing that it takes both of them completely losing all of their memories and will to live for them to trust and rely on each other without constantly hurting each other, but...
Maybe the two of them spend eternity forever without their memories. Or maybe like you said, they slowly find each other's memories in the game's coding, and they have to reconcile the horrible truths they learn about themselves and their pasts with the fact that they're *friends* now and don't want to lose each other
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wake up babes new theory about the ‘i’m not on anyone’s side. i’m on your side.’ scene just dropped (or more than the actual scene, what leads to it lol)
these past few weeks i read some posts in the tag that questioned the motif behind kim investigating on porsche and his family because it seems like it's going nowhere but i don't think this is the case as the series has been showing him investigating since the beginning and i don't think it is that random that then korn in episode 12 just says everything without even being asked so i really wouldn't be surprised if the whole point of kim's investigation is to use him to let the audience find the actual truth through him and eventually show how korn is manipulating the game since day one ???
we know that kim's investigation on screen starts in episode 3 when big meets him and this conversation follows:
presumibly kim was suspicious from the get go after learning that his father hired a random man without background to be kinn's bodyguard
it doesn't show on screen but it's a given that after the conversation with big, kim asks him to find more info about porsche because in episode 4 we get this scene:
big hands kim the file on porsche assuming kim wants to know about porsche because the rumors about there being a mole have spread but that is not why kim is investigating considering that we see him still investigating even after they find out the mole was ken
in episode 4 we're introduced to kim's investigation board for the first time:
he's clearly investigating something even from before he knew about porsche and it's clearly all linked to his father so he definitely suspect korn of something and (not in the screenshot) we see kim fixing porsche's and porchay's pictures on it then looking at it
kim isn't suspicious about who porsche is but he wants to know how he could actually be linked to his father
then in episode 5 kim is at the main house looking for something and he almost gets caught by his father so he uses the excuse he came to meet him and this conversation follows:
kim suspects his father of something but he doesn't really know what it is exactly so he tries to test the waters with him and i think it's really interesting the way korn reacts because it all starts with them sitting korn seems chill ready to catch up with his youngest son happy that he came to see him but kim starts to ask questions and something in korn shifts and he puts himself in a defensive position replying to questions with other questions dropping his fake expressions two times visibly altered by they way kim is almost interrogating him and it seems like kim notices it and just interrupts the conversation stands up and leaves
i wouldn't be surprised if we will find out that after this conversation korn started having kim followed and monitored and him randomly confessing about porsche's parents death was just a precaution to preceed kim who also found out (end of episode 10) as he's afraid of what kim could do (considering how unhinged kim seems maybe it's common knowledge even in the family lol)
some sort of confirmation that kim isn't investigating to find out if there's actually a mole and who this mole is but that he's actually trying to find out what's the connection between porsche and his father and what his father is hiding comes in episode 8 with this conversation between big and kim:
and this is the first time we learn that the car crash that killed porsche's parents wasn't that much of an accident after all
i always thought that korn playing chess since the beginning of the series represents something bigger than a mere metaphor of power and dynamics because it actually puts him into the role of the puppeteer for the whole show messing with the story it could be that he's just an old grumpy man who has a lot of time on his hands or it actually could be that he wants to test the son who will succeed him in ruling his empire what's for sure is that he's never shown too much and it looks like every character in the story is moving because of him so even tho they think they are abiding to their own destiny they're just his puppets (porsche thought he had a saying in accepting the mafia job but we found out it was korn all along, kinn decided to become the heir to his father because he wanted to step in for tankhun but in reality he's just following his father's order and so on)
let's not forget this is how the very first episode ends, right after porsche accepted the job at the main house:
so of course i wouldn't believe a single word coming out of korn’s mouth in general and particularly during the conversation with porsche and kinn in episode 12 because he was definitely the one leading the conversation how he wanted and it seems really out of character for him to spit out the actual story behind porsche's parents death just like that without porsche even asking about it porsche went to talk to korn because he found out that they manipulated him to make him work for the main family so porsche didn't even know that his parents died in shady circumstances
i really think that the whole 'my friend was behind your parents' car crash so i covered it all up' situation was actually a random excuse a pawn move in korn's chess game we've seen him play since episode 1 to see how it plays out he wants to see a reaction from porsche he definitely wants something from him but we always see him remain calm he always appear quite easy going and chill with that little grandpa smile and as we know porsche trusts this kind of attitude towards him so he easily trusts korn and shows him respect this is why both kinn and porsche seem to believe him and it’s really questionable that he firstly said to porsche that he wanted to make ammend for what happened by letting him work for his family (a reality that could easily gets him killed) but then when kinn presumibly went to live with porsche he himself went out of the house (we never saw him leave the house in twelve episodes) just to give porsche a photo of this said friend that killed porsche’s parents
so… what if korn lied about his friend being the one who killed porsche’s parents in that car accident and him covering it up because it's all part of his big bad scheme?
korn wants porsche to kill the guy in order to definitively corrupt him and have a leverage to use against him for later purposes because up to this point even if porsche is working with the mafia he never actually killed anyone willingly it all was part of the job and this could have been the first life he'd take and something like this (considering for him it would have been the man who killed his parents) would have changed him forever and maybe be the cause for conflict between kinn and porsche so it doesn't come as much as surprise that this is when porsche's uncle appears again with a picture of porsche's family and korn hinting to the fact that korn was friends with one if not both of porsche’s parents or anyway knew them
so thinking back to these handprints appearing in episode 5 when kim almost gets caught by his father snooping around:
who do they belong to ?
if korn and porsche's parents were friends it could be that these handprints belong to porsche and porchay from when they were children and we find out korn actually cared for them all these years after their parents' death remaining informed about anything that happened to them
maybe the car crash that killed porsche's parents was actually caused by them and korn as their friends wanted to cover it up in order to protect porsche and porchay
maybe korn even gave their uncle money each month to support them financially only for their uncle to lose everything gambling and that's the reason for their long-term debts
or it can be that maybe those are kinn's and porsche’s hands and we find out that kinn and porsche knew each other when they were children and actually were friends (like a good old childhood best friends to stangers to enemies to lovers) i mean i may be reaching because the handprints are different sizes but we actually don't know how older than porsche kinn actually is
we know that canonically porsche was in the car crash with his parents and he lost his memory so he doesn't remember what happened during the car crash and with kinn it’s the same he was a child so he could not remember
or it can be that it doesn't mean anything and it was just put there to distract the audience or to mislead kim
at the beginning of the series kinn and porsche meet each other by chance porsche helps kinn and korn watching them on video decides he wants porsche to be kinn's bodyguard even tho he's not trained to be one but why if not because he already knows who porsche is and wants something from him ? but he would have never predicted that kinn would fall in love with porsche and would change so much and that's when he decided he had to do something about it and protect his empire because he knows how his son is when he's weak in love (we learned about it through tawan)
it's fortunate that porsche's uncle is appearing now that kinn's and porsche's feelings and relationship have consolidated to the point they represent something dangerous so what if korn or kan are actually paying him to make kinn and porsche break up? they both have their reasons to:
we know from the conversation between vegas and porsche in the warehouse that porsche's sense of family is really strong because in that moment he couldn't understand why vegas would do something like that to his uncle and cousins and vegas puts him in front of the crude reality that they actually aren't family something he learned and grew up with because of the way his father raised both him and macau as we have discovered in these past few episodes where vegas is with pete so it actually makes sense that using porsche's uncle would work because despite what happened between them he still remains the uncle who raised them after his parents passed away
we also know that by now both kinn and porsche are so in love with each other that they represent each other's strength and in this sense also each other's weakness
korn knows that breaking them apart will bring back the old kinn he's been shaping into being his heir since he was a child
kan knows that if kinn and porsche were to break up kinn would be so weak that he could easily overthrow the main family when they're at their lowest and take power (much like vegas' plan) as in this scene from the trailer kan seems a little too happy about something
regardless i really can't think of a reason that could cause a conflict so big between kinn and porsche capable of breaking them up to the point they find themselves pointing guns at each other again because if we think about where they are now as a couple when a problem arises they are really quick to make up as they forgive each other istantly and just a touch is enough also we already got a scene with kinn and porsche pointing guns at each other in episode 10 before porsche runs away with vegas and we know kinnporsche is a series that uses parallels and foreshadowing and in that moment neither of them wanted to actually hurt the other so i wouldn't be surprised if the scene from the trailer coming during the final showdown at the main house pointing guns at each other goes just like that and they're not really against each other (they don't even have their fingers on the trigger) but i really do believe that a few people would try to separate them in these last two episodes
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