Something something Clea is one of the most tragic characters because she doesn't even have time to be a victim of the fire, her brother's death, her sister's injuries or her parents' neglect, instead she has to uphold an entire mantle on her own; even painted Clea is robbed of her autonomy to serve the Dessendre family
Brought to you by someone who just realized Clea isn't even mentioned in any of the "A Life to" trilogy of songs.
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Rimworld's constant dedication to emotional regulation is very ridiculous, but i also have never seen a more realistic game system for simulating emotional states, even if it is just a simple number that indicates good mood or bad mood. On one hand that speaks to how hard it is to simulate and gamify emotions, but it also shows how ridiculous humans are in real life.
Like yeah, maybe someone throwing a tantrum over eating without a table looks stupid, but so do a lot of real life tantrums. Realistically, if I spent the entire day mining stone in the heat and i got insulted twice and my clothes were full of holes and I dont even have a private clean bedroom with a comfortable bed, then yeah the last straw probably would be sitting on the dirty ground eating unseasoned baked potatoes made by a cook who gave me food poisoning last week. I probably would spend the next 4 hours sadly wandering around and ignoring god when they tell me to build a chair
okay so. the idea for this comic was born on my first playthrough when I saw candles near the monolith and thought "huh. weird. someone must have put them here..." And then I thought of Renoir who brings them every now and then because he misses his wife...... A cool symbol for grief and mourning too that works for both Aline and Renoir
I listened to a lot of hozier's "through me (the flood)" while drawing. Such a Dessendres-coded song I can't
Second to last Decpedition 'Spontaneous' suggestion! It's only taken, what. Six months? XD Anyways. Shoutout to @lis-alis/potadumpling for the idea to give the Creation a lil' smiley face.
Nos vies en LumiĆØre: The Musical Brilliance of Clair Obscur: Expedition 33
The reason why I continue to think about Clair Obscur: Expedition 33 months after I played the game is because of how eloquently the story is told through three different forms of art: creative writing, visual arts, and music.
Now, Iāll be honest: I canāt draw to save my life.
However, I do know a bit about writing and a fair amount about music. So as I played, I found myself in awe at how the music shaped the structure of the story. Not only in terms of appreciating the melodic beauty and creative brilliance that Lorien Testard wove into each piece, but in realizing how the placement of each song functions as a narrative technique.
A while ago, I posted about how Clair Obscur has this subtle theme of terrific threes and terrible twos, and how it manifests throughout the story:
āThree endings. Two offered, and one denied.
One choice, two options, three wishes shown.
A Life to LoveĀ (Une Vie Ć T'aimer) for some.
A Life to PaintĀ (Une Vie Ć Peindre) for others.
A Life to DreamĀ (Une Vie Ć RĆŖver), forgotten by Act 2's close. Because Verso threw a letter into the water dockside.ā
One song reinforces this structure with surgical precision. A song that, coincidentally, also happens to be exactly 33 minutes and 0 seconds long: Nos vies en LumiĆØre.
Split it into three equal parts, and you get, in order:
Each 11 minutes long. You would think that the game would place the same amount of narrative value on each song?
No. That's the fascinating part.
Three songs, each played during boss battles. Two are mandatory, but one is missable.
Une vie Ć tāaimer is played during the mandatory fight against Painted!Renoir in Act 2.
Une vie Ć peindre is played during the mandatory fight against Real!Renoir in Act 3.
Une vie Ć rever is played during the optional fight against Painted!Alicia in Act 3.
Hereās the kicker: the only time Une vie Ć rever is ārequiredā listening is during the credits.
By then you've already chosen between the two endings the game offers, and you're dreaming of the third one that Verso threw into the water.
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I havenāt played Destiny since Beyond Light was released six years ago, but learning that Bungie ended its development has me in a state of grief.
I became a Guardian shortly before the release of the House of Wolves expansion. That was the game that defined my high school years.
I remember checking the Where Is Xur app every week to see if he finally had an exotic I wanted for sale. The countless hours spent in raids trying to see if we could reach the end in one night. So many fun matches within the Prison of Elders, Iron Banner, the Crucible, Gambit.
It has been six years since Iāve last seen my ghost. That hiatus ends today, if only to say one final goodbye.
Feels like the death of a childhood friend. Even though I stopped playing Destiny 2 when Beyond Light was released, I will never forget the memories and friends I made on Destiny 1 and Destiny 2.
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Honestly, I really need the devs to give us more information about the differences and similarities between our Belle Epoque era and the one in Clair Obscur, just so I can disregard or take into consideration the era when it comes to think-pieces.
For example; by our societal norms of that time Renoir is the head of the Dessendre family and Verso is his heir as his son. As his only son and male heir, there would have been a lot of pressure - from his parents and/or society at large - on Verso to marry, even if 26 years old was young for a man at the time to tie the knot.
But the Belle Epoque Paris of Clair Obscur might be totally different and in that case do you think the same thing could apply, with Verso being the heir in regards to society's rules, but in the small world of Painters & Writers inside that society gender norms are non-existent, therefore allowing Aline to be Head of the Painter's Council at one point and Clea, as the eldest child, her heir?
So Verso is the heir to the family but Clea is the heir to the family's council seat?
Or are societal norms different in that women have equal rights as men, therefore Clea is the heir overall and Verso does not have that type of pressure on him as he might have done in our world while Clea does?
Okay first of all this post came up in my queue and it echoed my thoughts on the issue so well so now you have to deal with my ramblings XD I AGREE WITH EVERYTHING
Iām writing a Verso x OC fanfic that is set at first in Belle Epoque Paris and I asked myself the exact same questions because the devs give us almost nothing about the āOriginal Worldā (because who knows if even THAT is real you knowā¦). In the Canvas world, it seems that there is a certain equality between men and women, as well as acceptance for alternative lifestyles etc. Itās kind of a nice thought that maybe over the years, the people in the Canvas changed their society to more equal standards.
I still have this headcanon that the original world was pretty close to our Belle Epoque Paris with some caveats. Even in that time, there were exceptional women who clawed their way up to the top with sheer tenacity, and Aline feels to me like exactly that kind of woman. Sheās an incredibly skilled artist with an iron will, and I see her fighting her own way into the position she holds because of her strength of character, which probably borders on absolute stubbornness. This reflects in Clea A LOT I think. The pressure put on her to excel, to create perfection, to be unyielding. Maybe in Alineās mind, women needed to be exceptional to make their way in the world and be respected.
I do think she found a husband in Renoir who sees and treats her as an equal. So while the society outside would expect a traditional line of succession, the Dessendre family feels like they already didnāt fully follow that tradition. Still, there would have been societal pressure from outside for a male heir. Clea and Verso are pretty close in age, which could suggest that the parents tried for a son after a daughter.
Society would definitely see Verso as the male heir and expect him to take over family responsibilities and finances from his father and yes, of course marry. Probably someone high-born, highly intellectual, AND a Paintress herself, judging by Alineās standards. BUT THE CRAZY THING IS thereās not JUST society pressure, there is the artistic pressure on him as well. His mother taught all her children to paint and expected them to carry on the legacy, maybe take over the Council position. Why would anyone give up the power of creating entire worlds?? I donāt think she could fathom any of her children NOT deciding to become Painters.
Why did Verso stop Painting? Why did he never make more than one Canvas? Sure⦠it could be the simple wish that he just loved music more. But I always felt like there has to be a deeper moral reason for it, which I chose to explore in my story for example. So when he decides not to become a Painter, he basically ruptures his family.
Clea has to become the heir apparent. The Hauler. The one carrying everything. While outwardly, she canāt inherit. Verso still has to serve as the male heir, still has to marry, but heās rebelling against the legacy pressure by refusing to Paint. Ā And poor Alicia stands in both their shadows. I absolutely believe this family was half-broken before the fire.
Also wouldnāt it be a funny thought if, when Aline made Lumiere in the Canvas, she made the society more gender-equal because she had to fight so much for her position? I kind of love that thought⦠I WISH we knew more about Alineās Canvas Clea before Original Clea Painted over her because she would reflect traits Aline wanted her to carry over⦠Like Canvas Renoirās strongest trait is to protect the family at all costs. What would Canvas Clea be like..?
Yes I have too many thoughts about this family. Iām sorry. I really liked your post.
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"Aline is a boy mom" "Aline would get jealous of Verso's partner" puhleeease, that woman painted the whole of Lumiere for her son, she wanted to see him happy, and I'm sure as hell she would've wanted to see him grow a family too
The flying mechanic of Act III fits the beats of the "it's all a canvas" reveal so perfectly. It's the perfect ludonarrative device, as it also changes the perspective of the entire world.
In Acts I and II, you have this wild, dense and immense world to explore and scrape your way through, the monolith always looming above you. It FEELS like a vast unmappable world, living, breathing, you may even imagine there are other cities, stranded beyond the continent, other continents, even...
Then the veil is lifted, you realize it's all a child's painting, and at the SAME TIME, Esquie can now fly! All those horizons in the distance unravel as the illusions of depth they are, you can fly to the edges of this world, and suddenly everything feels incredibly tiny. It's a painting. Of course it ends at the edges, and now you can SEE, TOUCH those edges. It hit me into oblivion when I first came to the realization of how... inherently limited the world is. Sure, there are spectacular vistas and mountains and valleys and ice and beaches but... it is a small, small universe for LumiĆØre.
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