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Deltarune fandom really showing its ass with its constant obsession with fan characters that don't even exist (gaster) and theorizing about their existence while not sparing a second thought to character(s) who are actually hidden, implied to exist, and have a tremendous impact on the story: whoever raised Susie.
Like maybe I'm going crazy here but the constant conspicuous absence of any adults in Susie's life is, like, obviously pointed to. She iirc mentions moving a lot, living in different places when she was young. Doesn't call her parents when she's staying over. Food insecure from *waves hands* everything. Like whether she's in the foster system, fully homeless, or just has very neglectful family is up in the air, both stated and unstated. And yeah that doesn't have the same metanarrative speculation element as "guy who basically doesnt exist" but it's just one more little point of how the fandom doesn't really give a shit about the racialized girl main character in favor of men.
Same thing with like, everything regarding the Knight! This mysterious figure of immense power and unknown origin, who at the same time is just. Like absolutely signaled to be Dess in some form or another. The visual design, the bat & ball motifs, the stange relationship to Kris. And people kept saying that it was definitely, for sure, one of the men. It's Asgore. It's Rudy. As if Toby is somehow interested in trying to trick people or juke them out when that isn't a thing that the story has like. Ever done?
People just seem to not get that Deltarune is, at its core, a story about four teenagers, none of whom are men, and their relationships to one another and their lives in a small, suffocating town. Because that story is actually, if you look closely, just very good and well-told.
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Peeling off the broken breastplate of a stoic knight who only fights and never speaks, just to realize there’s nothing in there. Not metaphorically—the armor is literally empty. It doesn’t appear to affect him. If the armor stays mostly in the shape of a knight, he just gets back up to keep fighting. But with the chest plate off he just sits there, equally impervious to curiosity as I reach up into the cavity where his body might’ve gone. Stubbornly, no answers are found anywhere in there.
So I forge him a new breastplate and on the inside, because I know he has plenty of room, I put a little pocket. Not big enough to hold anything functional of course. Just a little extra piece to see what he’ll do with it.
He comes back next time with some grievous injury to his nothing, presumably from the massive shredded gash across his thigh plates. He sits and waits. I fix it for him. He is still nothing in there. I decide to add a drawing on the inside, of the type of beast I imagine could rend metal into scraps with a single blow. He puts it back on. He no longer moves as if he is injured.
Over time the interior of the knight becomes decorated with whatever odds and ends I could think to attach to the inside of a guy who’s got room to carry it. What really gets me is that he never removes any of it. Never requests a change. Not even when I installed a curtain rod for a small tapestry, or a bud vase to carry roses for his beloved, or an accordion folder for letters. He didn’t say a word for any of the many, many drawings of mythical beasts that now fight forever inside of his shell.
There are plenty of other forges. I’m not entirely sure why he keeps coming back here anyway. We’re pretty popular, but he could get his armor fixed a lot quicker (and with fewer ridiculous modifications) literally anywhere else. I asked him if I could get a look at his nothing again. He flipped up his visor and nodded his head so I could take a look. It was the same as it had been, filled with drawings and trinkets and weird little fixtures I’d put in there. I asked if he was annoyed by it, or liked it, or felt anything at all, but he literally only ever says nothing, so I’m not sure why I asked.
There’s not much room left in his nothing now. When he comes back for repairs I’ve had to fix my own foolish additions. Some of these pieces are intricate and irritating to repair, but I fix them anyway. It feels wrong to take any of it away from him now, even though I’ve been rudely encroaching on his nothingness to the point where it’s barely even there. How he squeezes his nothing back into a body so full, I’ll never understand. But it’s a game to me now, finding a spot not yet filled and putting something there. A dark part of me wonders if he ever gets filled up completely, if whatever sorcery holds the nothing-knight together may break, and it will all clatter unceremoniously to the floor.
When he hands me his breastplate yet again, it is so shockingly disfigured that I wonder if being made of nothing has somehow kept him alive. No ordinary knight could sustain such injuries. So I fix it. And he waits, unmoving, in a quiet corner of the forge. It’s like he’s watching, even though I know the reading glasses I put inside his helmet were just for fun. I’m careful to put it all back exactly the way it was when he last left. There’s no room to add more this time.
He examines the breastplate, and pauses before putting it back on, like he’s looking for something. Is he worried about the fit? But it suits him just as it always did. He calmly points to a little space, about an inch, between a miniature shelf and one of many pockets. There’s nothing there. I ask him what’s wrong, and again he points. It’s the most emotion I’ve ever seen from him, and it’s barely anything at all. I take it to mean he wants something there.
I spend some time engraving a little snail in the gap. He watches, as much as nothing can watch. When I’m finished he holds the breastplate, but he doesn’t put it on right away. I ask him if something’s still wrong. He says nothing, and puts it on. I tell him I can’t add anything else. Even if he could ask, there’s no room left.
Next time he comes back, there’s nothing wrong with his armor—he lets me check to make sure. I ask him what he’s doing here. Out from one of many pockets, he retrieves a tiny rusted knife. It’s in miserable condition, barely worth saving. I tell him I could make him a nice new one, but I’ll fix it if he likes. He puts it away and reaches around to find something else, a needle and thread. Better condition, but I’m not a sewist and I tell him as much. He puts them away. He then retrieves a little twisted piece of wax paper. I open it. It’s candy. I ask if I can eat it. He says nothing. I eat it. It’s flavored with cinnamon. I’m surprised he let me take it.
He keeps bringing me candy now. His armor is the most laborious to repair out of every client my forge serves, but it’s my own fault so I can’t complain. Sometimes he keeps me company while I work. I wonder if he is trying to tell me something when he hands me mints. I wonder again at the lemon lozenges. He stares at me when I eat, as much as nothing can stare.
One day he brings me a little jar of honey. I thank him, I tell him I’ll save it for dinner. He watches me work, he puts his repaired armor back on, and he stays. My shift passes slowly, and when I finally pack up to leave it’s dark outside. He follows me out of the forge. I ask him where he’s going. He points to the jar in my hand. I ask him if he wants to watch me eat it. He says nothing, but the nothing-knight clearly wants something, so I open the lid and dunk my finger in the honey. I try not to get any on my chin. He stands there, inches away, watching me try to consume this jar of honey without a utensil. It tastes like clovers. About half the jar is left when I’ve finally had enough of pretending to be a bear, but he doesn’t move to leave.
I ask if he’s going to follow me home. He says nothing. I tell him he can if he wants to. Again, nothing. I start walking, and he follows at my side. I know he’s not going to say anything ever, so I fill the silence. I tell him I’m grateful for the sweets, I tell him about how his various components are made, I tell him I’ve never met anyone made of nothing before. I tell him it’s a rare opportunity for a smith to work so much on the inside of something. He says nothing. I tell him again how much I like the candy.
It occurs to me that maybe filling me with sugar is as close as he can get to filling someone else’s empty armor with trinkets. I’m not sure if that’s really why he does it. I tell him I don’t have room to be filled with anything on the inside, not like him. I’m not a container for much besides food. He offers me another piece of candy. Maybe he likes containing something, the way I like to feel full. Maybe it’s nothing at all.
—
I didn’t edit this even a little bit. Thanks for reading!
Said this before but it genuinely flummoxes me to never have seen a silent hill style survival horror with a wheelchair user as a central protagonist.
Like, the overwhelming majority of the mechanics of that genre would lend themselves absolutely perfectly to that. The tank controls early in the genre? character handling and turning their chair. The oft-joked part of you can't climb over knee-high obstacles? Well, yeah, even if the protagonist has enough mobility to stand and climb over, unless they can get their chair through with them they're out of luck. The often semi-cumbersome relationship with melee weaponry and use of firearms? A wheelchair user is someone who would have even more reasons to not want a demon from hell practically on top of them- both their body and their primary means of mobility is at risk.
Heck, Silent Hill even loves scattering wheelchairs around and using them as imagery anyway, just put the playable character in one.
Even the way these sort of games often herd and control the player character's movement through the setting, and how they have to solve puzzles to progress- that would have perfect intertextuality with someone who's not just lost in the middle of nowhere but also has to figure out how to, say, get up to a second floor of a space that doesn't have an elevator and they can't climb the stairs.
I know the game Endoparasitic has a protagonist with only one working limb as its central conceit but as-said it baffles me how few games feature mobility-limited protagonists when so many genres but especially survival horror feel like they'd lend themselves perfectly to that sort of thing.
Almost every survival horror concerns itself at least partially with navigating an environment that seems set against you and often having to specifically solve problems to get place to place in crumbling environs.
A more moody, introspective Silent Hill-style title could also make a lot of hay out of the vulnerability that visibly disabled people experience in our world, while a more bombastic Resident Evil-esque approach could have a lot of fun with the protagonist mad max-style customizing their wheelchair as well as the more pointed take of an """imperfect""" person's attitude towards all these clownlords who keep babbling about perfecting humanity by making bigger and worse beefcake monsters.
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Every demographic of marginalised men on the planet expects the women they share a marginalisation with to simply shut up and tolerate the abuse they face from said men in the name of "not dividing the community". And yet every single time this comes up you get people batting as hard as they can for the supposedly liberatory right of men to tell women to shut up and telling you that you're only talking about it because they're [marginalisation you also experience]
idk why people are still trying to do "hear me out"s on tumblr
you could talk about wanting to fuck the space needle on here and people would still call you a poser for insisting on fucking "conventionally attractive architecture" as if that's a coherent, easily-recognizable category
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