The New Nagisa And Karma Nendo Reveals Made Me Miss Them So Much….can’t Believe It’s Been Like

idk

“stan had it worse” “ford had it worse” stan got pushed deeper and deeper into rock bottom until he had to start digging and ford got pushed higher and higher towards the stars until he became an icarus. they are two ends of the same rope, tied to form a circle connected by the knot of a living hell

I don’t care what anyone says, Vincent Charbonneau is the funniest character of all time. He got down bad for a guy he knew for a week. He was in a lavender situationship with that man’s ex before he killed her, made her into food and ate his crushes ear then got insulted when said crush called him a cannibal and said he didn’t eat any of his food. The game sets up a twist that he’s eating the employees and that’s why there’s so little, only to reveal that he’s just a really shitty boss. He got jealous of a rat. He gave the guy he had tied up on the floor in the freezer 15 seconds to escape, seemingly just because, then acted indignant and annoyed when he did not get very far. He eats raw lemons and nothing else. What is his fucking problem?

🏢 아~파트 아파트 💗

" 𝚍𝚘 𝚢𝚘𝚞 𝚊𝚝𝚘𝚗𝚎 𝚗𝚘𝚠? "

Nooo little Stanley watch out! Your striped shirt, bandage, and sad backstory are too Fallen Human Coded!! The Undertale narrative is going to get you!!!

it's not going to let me rest until i write about it, so tonight I want to talk about the TSP2 Expo in Ultra Deluxe, and why it's a thing at all, and what it means about the Narrator, and how deeply self-conscious he is.

The Expo is, and I say this without exaggeration, the Narrator's deep, desperate need to respond to the audience and the reviews from the Skip button ending. They say he's not funny; he makes "a whole lot of gags". He's still reactionary, he makes all of this in response to (and in my mind, in the downtime during) the Skip button, and it's the first thing you can find right after the game resets from the Skip button.

He's not over it.

TSPUD in general is in a big way about the relationship between an artist and their audience. (i swear on my life i've written those words before...) it's about how a creator can and does create for themself but does, on a real level, yearn for an audience to understand and appreciate, while also being scared that people wont get it, and also being scared about "needing" a reaction to begin with.

Create for oneself, sure, but you still want people to like the thing you made. You want them to experience it, this thing you put so much time into. You want them to laugh at the jokes, that's why the jokes are there, and you hope they hit right.

Elements of that have always been in TSP but they're at the forefront of TSPUD and especially all the Expo stuff. Even while the Narrator, in Skip button rants, berates the audience for wanting jokes and gags and bits to distract them, he immediately wants to please. He's yearning to be understood, and he thinks if he can just give the people what they want, then surely they'll find the meaning in his work.

And then there's that darn Bucket. And while the Bucket feels like, at times, a stand-in for the Narrator or a way for him to project, it's easier for me to see him trying to frame Stanley's bond to the Bucket as a parallel to his bond to Stanley, instead of the other way around.

Stanley is the thing that is here in this world and story to comfort the Narrator. But Stanley is also the thing that can crush the Narrator's spirit.

In the Press Conference Ending, Stanley's bold new approach to story-telling gets him lauded, gets him praise. In the Bucket version, he tries to make the Bucket understand him through other people understanding him, and it fails. It scans as the Narrator desperately trying to reach out to Stanley, even as he tries to get adoration from an audience. Stanley only has eyes for the Bucket in the Apartment ending; in the end, the Narrator only has Stanley for company, and he on some level wants Stanley to appreciate him. He asks for feedback in the Games ending. And while nothing will ever really make him happy, there, he still asks.

In the end, Stanley's the only audience that really matters. He wants Stanley to like the things he makes.

"Why did I create Stanley? Was I lonely?"

He was. And the audience he's looking for isn't one he can interact with.

TSPUD is about a creator's relationship with an audience, hoping they will play the game, and like the game, and understand the game, so that they'll keep playing. And the game "ends" when the creator says "okay. I think I'm ready to try something new. for real this time!"

And then he gets pulled right back, because the audience response is just so uproarious. How can you move on from a thing that did, on some level, garner you success? Shouldn't you just stick with the thing that made you successful? But how do you make it better, when it felt like a complete work?

When do you get to move on? When do you make that choice? Will the audience understand? Will they follow you? Or do they just want more of the same?

The answer isn't simple.

Happy 11th anniversary to The Stanley Parable!!

Oh yeah. Day 17 of Paratober, Birthday

Narrator’s supposed to be doing jazz hands so present it looks like he’s doing that lol

Married in Red