In the Mutually Assured Destruction & The Empty Cup chapters, the Long Quiet manages to get rid of all voices including the Narrator, and the construct changes when he does. When the voices are gone, the basement turns back into its original form from Chapter 1 and when the Narrator is gone, nothing is left. Since the voices are created from past experiences, silencing them means disregarding all those experiences which have shaped the construct and the princess. With all those memories ignored, the construct snaps back to how it was before those memories even existed. The princess remains the same because her present self is the only thing not ignored. The Long Quiet also forgets all that the Narrator has told him including that famous "You're on path in the woods", which makes the woods disappear. As the game says, "There is only the dance". If that's how it works, I can see why the Narrator is so eager to say those first lines as soon as he awakes! Without those there is no available perspective of the surroundings, no path in the woods, no cabin, no prison, nothing.
And we should've been the Hero at that point, the other voice who doesn't affect our perception because he was shattered from us before we even begun, we were originally going to be him, just as the title says, "The Hero and The Princess"
That's also why The Cheated is able to start you at the cabin when he gets tired of the woods over and over again, because he gets the first perspective before the Narrator can say anything
The narrator mentions that the entire "princess" set up, wasn't his idea. I think he just set up the basic context of the scenario, and the specifics fell to the Long Quiet. *You* conceived of the Shifting Mound as a princess because it's something both important but "on your level". The features of everything were your perception, only slightly guided and reinforced by the narrator in the direction he needed using the bits of himself he effectively left within you. Past that point he's ad-libbing. I find it interesting that the Long Quiet is effectively the foundation for this pseudo-reality, the ground and firmament, while the Shifting Mound is effectively everything else. Not just the forest, but the stars in the sky. But even then, the cabin *interior* changes. Even in the Moment of Clarity when all the construct is breaking down, the walls themselves remain and even when those fly away the Princess is *still* trapped until you give her your hand (even if you were broken to assent). It seems that the "cabin" isn't strictly you or the princess. Furthermore, in the end of the spectre ending's first run, the narrator says that he "made this happy place for you" and I believe he's referring to the cabin itself. This leads me to my conclusion, that the cabin is the domain of the narrator, who has special control over it. But since the narrator is also in you now, the cabin is part of you too.
Addending this because I thought of something else. I think the cabin is the truest form of the construct. Like everything else its specifics were decided by the Long Quiet, but it seems the most "narrator" part of you, the one work of artifice in this entire place. Even then though I don't think it's truly "part" of the narrator, but his creation. The mirror is the narrator's aspect, and the cabin persists even in his absence. The Burned Gray, for all her idealism, seems to have an intuitive sense that it's the place, the cabin, that drives you two to hurt each other, and her solution is to destroy it. But it won't last forever, whether or not you engage with it, it breaks down. But without perspectives and self-understanding, that doesn't do either of you much good and you'll just languish in ignorance and mentally decay into nothing.
One thing that adds to this theory is that the narrator never knew the princess, would be a princess. That was the protagonist's subconscious doing. To psychoanalyse a god, she had to be someone above you, but approachable. Not an ant, or a soggy piece of bread.
3 am brain is writing this, but I want to add something: in chapter 1, the narrator has a lot of power. he can lock the door and drop the knife into the basement all by himself. for chapter 3s, in the wounded wild route, it's mentioned that the narrator cannot control reality because he's "tired". like an echo, they fade over time, as perhaps so is the case for the narrator's strength and influence. in the wraith route, even as the visual of the hallway matches the narrator's words, the wraith defiantly says "you cannot describe me into existence. the door is right there." and so it is.
I'd always assumed that he's able to take control because in chapter 1, its just you and the hero, chapter 2 onwards its you, the hero, and one other voice, probably all capable of fighting back the narrators influence
@@sidneyrobinson18 This is further supported by the fact that in one chapter (I sadly don't remember which) the voices have the power to actually act. One of them throws the knife through the window and later regrets that decision. Therefore, the voices are not powerless and they might indeed be able fight back the Narrator's influence.
@@playz7 Lmao that was the voice of the Contrarian I think. Also there's another time where you're being forced to stab yourself and the narrators like "Hero! Are you just gonna let this happen?!" and Heros like "I'm on it!" then your other arm shoots up and starts to try and prevent you from continuing to stab yourself.
Narrator did a second thing to trump us in the construct, he most surely feared that our subtle connection with SM would led us to be her Hero, to join with her instead of have conflict even if we had no memories, he feared that our connection could lead to our Love with her, and his failure. So what did he do?, first, he has "power", not really, he's using OUR power to shape reality against us, taking advantage of our ignorance of self and no memories, but our self is godly, and he can't grasp it nor hope to control it, so what could be the greatest thorn in that despaired situation he wanted us to be?....the Hero who surpasses every trial, every challenge, that emerges victorious no matter the situation nor consequences, the greatest power that can trump fear and lead the way to our love. So he shattered us, why do we always shape and mold a personality with our actions, yet Hero is from the beginning?, it's because Narrator ripped off our capacity to be a Hero. Every other personality has a definitive pattern of likes, dislikes, what they want to do and not, yet the Hero is empty, sure he has some notion of heroicness at the beginning but, he's always neutral, always reacting, like us, sometimes agreeing or not, sometimes just "quiet" like us and waiting for our action and decisions, Hero didn't have power, the Narrator ripped us off the possiblity of molding a heroic personality of ourselves and thus giving ourselves the heroic might to overcome his clutches directly. Yet, he's doomed to fail, he can't grasp infinity and definitely underestimated our original self, Hero still showed up, as a shadow of what we should be, but still showed up, offering us the chance to NOT be an empty husk like the narrator wants (The Cold), by saying "being a cold-blooded killer isn't very becoming of us". We also know something's wrong with ourselves, when talking to the princess Hero says something like this (don't remember exact words but definitely sure it was like this I played it yesterday) "There's a reason why I'm telling you this and there's a reason as to why you listened", he's clearly implying the connection we have with him, that our personality should've been one, Narrator ripped him off, but couldn't do so entirely, that's why we listen to him (if we choose to of course), because we should've been doing things like him and thinking like him, as one, because the chapter is called "The Hero and The Princess", we should be The Hero, not another personality in the making. And that's why the Narrator con only directly control us in Chapter 1, and ONLY if we try to do what we should've done, be The Hero, do the Hero route, if we do anything else, become skeptical, smitten, paranoid, contrarian, cold (he wants this one), broken (he clearly isn't going to expect this one lol), stubborn he can't stop us, because that possibility is within ourselves and we develop it and give it strength, to that perception of us that affects our reality and goes over Narrator, who as I said at the beginning, has no power other than manipulating us into using our own power in his favor, he can only overpower us trying to be a Hero because in that case we're barely something empty with a shadow of the strength we should've had. Yet, the fragment of the Hero inside us, with the awakening of either Skeptical or Smitten was a combined force enough to resist killing her, Narrator clearly can't win against gods lol, and certainly underestimated the power of love between these two. So to sum it up Hero is the strongest, or should've been, he can even force the Awakened LQ into SM's core even if we refuse his help, that's the level of power he has and the story, while still having one, would've been way different and an easy win for the twin gods if we could've been the Hero in chapter 1, cause we're kicking away the Narrator's fear from the start, and our perception of the Princess and of ourselves, and in consequence the reality around us and the situations we would live, wouldn't be tainted that easily with Fear, Love would've won sooner and easier this way, shattering the Narrator's narrative.
There’s something else that never changes along with the cabin’s exterior: the pristine blade. I feel like that should’ve been at least mentioned, even if its true nature and purpose is fairly obvious by comparison.
it does change though it the second version of tower with the help of paranoid you believe the blade can change and it does changing shape and becoming longer and stronger
@baggelis678 i want your opinon on something does the player change during the princess and the dragon route becuase he looks a lot bigger than he did any other route
I'm fairly certain that the Construct _is_ the Long Quiet, and His.. "body"; the threads (or, perhaps more accurately, feathers) of His form woven into an imitation - partially reinforced by the Long Quiet's belief in it, partially through the effort of the Narrator - of a path in the woods and a cabin. The Narrator quite literally trapped the Long Quiet in His own body. This explains why the Narrator is able to influence the world around the LQ - because; by making himself a part of the Construct, a part of the Long Quiet's body, like the world's most thanatophobic parasite; he can somewhat influence its motions. This explains why you need to have your memory wiped by the Shifting Mound after She unravels the illusion of a material space in order to return to it, because its existence is solely contingent on the Long Quiet's continued belief that it is, indeed, a path in the woods. This explains why He can let the Princess out of the cabin, because that can be seen as expelling her from a part of His body. And I'd venture to say this also explains why the "Slayer"'s body slowly withers to nothing as he gets closer and closer to discovering what He and the Construct both are. Also, according to Abby Howard, the background in the mirror is a part of the "Slayer"'s body, so.. make of that what you will.
I mostly agree though I think you could note the narrarator isn't truly a part of the LQ. He is instead part of the narrative "construct" that shapes it. Which is a important difference in it meaning he doesn't change and by that same token cannot realize various changes to the ontology of it unless you bring it to his attention. This is also the reason one can note he dies when you break the mirror, you at this point have fully realized the narrative of having a body, of slaying the princess is a lie. You can choose what else to do but at that point the illusion that kept him around is gone. It's a more impactful version of whenever a scenario diverged from the narrative enough in previous routes for you to push back dissappear or for him to dissappear.
@@P_I_G_G_A I used the term to refer to the Long Quiet _before_ He found out what He is, and the limited form he was forced to occupy. I also distinguished the two with the use or lack thereof respectively of capitalization in "he".
@@purplehaze2358I always found strange that we look all monster like, like a dragon that chains and kills the princess, not the hero in shining armor that saves her. I guess if we could have a form of our own it would be that, a knight in shining armor
Another way you could describe the Construct is that of "a Story". The very words being "Your on a path in the woods" being the first thing we hear immediately shape's Quiet's perception of reality. It also explains how the Narrator, who was presumably a simple mortal (or whatever he was) trapped not 1 but 2 gods. Because they were new gods they had no context of what they are/were, in doing so he trapped them within the very context of the story were playing!
The Cabin is the Shifting Mound's heart. where does the Hero take you at the end? no woods, no path - but still the Cabin, as it has always been. the Cabin doesn't change because, at least in the Construct, it's the constant of the Shifting Mound. The Long Quiet goes into her heart, at the center of the Construct, the deepest part of the prison, yes.
So when the Beast talks about the cabin and how she understands it, it's because her more primal nature gives her the straightforwardness to understand what her heart feels. She believes that her own nature is suffering, which is a stark contrast to what the Shifting Mound believes at the end. PRISTINE CUT SPOILERS BELOW: Another detail that supports this is in The Princess and The Dragon chapter, where it starts off from the Princess's perspective in the cabin, and the words, "This is what you deserve," appear over and over again following the initial description. There's no Narrator, so this must be what the cabin, or the Princess's heart, is telling her.
Perhaps the Cabin is better compared to a chest rather than a prison: It's meant to keep certain things in and other things out, but what's inside may be precious rather than a prisoner. When talking about a human chest, it obviously contains the vital organ of the heart, but the heart in turn is taken poetically as the centre of emotion. To "get something off one's chest" is to releive the tension of emotional contents that wish to be let released.
I wonder, then, what is the piece of the shifting mound thay we find at the end of routes. She grabs the princess, but she isn't just that princess, as her conscience exists in some form even before awakening her (you can feel her and even be killed by her if you avoid the cabin in your very first run) She is the wrangle of hands. Almost mindless, as the mind is in the princess, but with a nature, and a drive to follow that nature. At first I thought she would be the woods, since they are the only part of the princess outside of the cabin (and the narrator would only dare use the least, more mindless droplet of the princess to create the outer layer), but it doesn't quite fit, does it? The woods are reset after each run, and they change based on your perception, but she doesn't seem to be influenced by you except for when you meet. I guess she could still be the woods; or, I'd say, the woods from previous runs. That would explain why she needs at least one run to exist. Then, she remains outside of the woods of the current run, like an extra, thin layer, awaiting to grab the princess once she is out of the cabin
She could also be the part of the shifting mound that's still within you. It awakens as a princess frees herself and grows more and more coherent until the critical threshold is reached and it can literally wrench the rest of the shifting mound out of the basement, starting the climax. This is why you can only really SLAY the princess in chapter 1(or the end). You always have a little part of the princess in you telling you that the best you can achieve is mutual destruction. Actually, thinking along these lines, the Princess you find at the end in the cabin might be that internal piece of the princess. and if so that might explain what actually happens if you and the princess leave the cabin together. You sort of reverse the process the shifting mound used to awaken, pulling it through the lens of the princess to make it fold to your construct of the princess. while also binding yourself back down to just "The Slayer". either that or the more likely scenario that the base consciousness/soul of the Princess and the Slayer just dip to lead mortal lives while leaving the voices to be The Long Quite and the reflections to be The Shifting Mound.
@@thatguydownthestreat The thing is, you don't have a part of the princess in you, not literally. You have a part of what should had been in her, and her has a part of what should had been you. But the princess is still the princess, and you are still you. In other words, the Long Quiet is Stillness, with a little bit of Change. The Shifting Mound (aka the Princess) is Change, with a little bit of Stillness. The Long Quite has a bit of Change in him, not a bit of Princess
You can kind of understand what all the vessels and even your own voices are in her terms for when you first meet her and choose to wait. A you packaged into a particular box describing itself that may then be unpacked after a time to be with the totality of what "you" are. In both cases you are a totality but parts of yourself may be arranged and packaged like origami to present a particular way of being expressing possible models of existence on way or another. I think you need one run to exist because as the gray terms it the cabin is a point of frozen futures. Shifty cannot be a future unless you get her out of the cabin in some way as she has no vessel of actual change to express and grow through. By that same token if you never leave the cabin you never grow out of the delusion that you are only a body and that you should not change like the narrative directs you to do. For either of you to br anything in truth you need to get past that point of stillness to see a version of yourselves.
@@travislyonsgary I never thought about it that way... You need to choose change, you need to choose to defy what the narrator presents as the current reality. If you don't, you stay still, trapped, quiet. You need to use the part of Change that exists in you to break free, you need to exploit the nature of the split to go against the echo's plan
It is interesting that 'the GLASS' of the Construct is mentioned a few times, in the game. I also think we'll get more info in The Pristine Edition of the game. A truly interesting and well-written story. A beautiful love tangled in hate, fear, and the unknown.
Even in the ending, when there is just a mountain of women left, the cabin still exists unchanged. But now I wonder, why does it disappear when you meet the Shifting Mound before she's complete?
Hmmm. I think I can explain this but it'll take a bit. In the Wounded Wild ending, you and the princess are temporarily fused into a gestalt entity before cutting yourself out, which reveals the cabin, which then proceeds to consume you. And when you reach the princess, her heart is already exposed. On one hand there's the whole power of perception thing, but I think the nesting doll comparison may be even more apt than we thought. Remember, the forest, the Wilds, *is* the Princess. She can call upon it. The Shifting Mound, was the forest before she takes her final form. In the Moment of Clarity ending, the cabin disappears, but the Princess is still down there. The cabin is just the exterior; its walls can be undone, or even circumvented entirely as a spectre, but it's still just sort of "there". Furthermore, the game makes a big deal about the Princess's heart. It's the only way to actually kill her. I think the construct exists in microcosms. The cabin disappears as do all other non-quiet features, but it's still there. You can see the hands of ol Shifty trying to break out. And the cabin exists still, in the same place it always does; around her heart. It's a cage that can be entered which holds her core. In whatever form it takes, the Princess's wilder, abstract self surrounds it.
holy shit dude cooked. what an amazing analysis video. also damn your voice is nice to listen to! I hope to see more content from you one day. thanks for posting this! and it is funny how this analytical smart deep voiced man is also the one making the "nya" videos
Ohhhh wonderful analysis! The construct has always been the most confusing part of stp for me, and this video really helped. You mentioning the cabin walls always staying the same - I’d never noticed that before! I wonder if it’s related to how the Narrator wove himself into the construct, describing that since he was an echo, the shifting mound (and even LQ) couldn’t change him. It fits with how the cabin exterior is unchanging regardless of everything. Also interesting that the only time the cabin fully leaves is when the Narrator does too. And how interesting that LQ is the only one who can bring about change to the cabin walls - breaking the windows with contrarian, the structure decaying with the prisoner. What a wonderful game, that there’s so much to explore and analyze. You did amazingly, thank you!
I saw a few gameplays of this game, honestly the work you guys put together is amazing and this video just helped me wrap my head around it better on how things work It's an amazing job, i hope you guys are praoud of yourselfs
On my first reading I had taken away that they were personifications of stories and their readers, and while I still enjoy that reading I also very much enjoy "Life and Death, reincarnated, learning once again to love each other" because that's fucking great.
i finished the game only once (I mean with credits list ect) , but i'm gonna restart againg because i wanna see more scenarios as possible. this game is a masterpiece.
also remember that there are two chains down there. princess is chained to one only. narrator chained the cycle at both hands or something and when he tore the cycle apart each part was chained to only one chain. he then set the long quite free which is why one holds princess and one is empty.
there is also dialogue for pricness in which she says that cabin told her she could not leave, that cabin knew what she would do. that is what the narrator would say
I didn't really think about the Construct before, but I just decided to make a fanfiction with the Construct as the mc. No, I will not watch this video until I am done with making a oneshot of reasonable length.
I just love the idea of the prison literally just being us. Because nothing can contain a god except for the god themselves... Until they realize they don't HAVE to stay there.
My take is that The cabin and it´s surroundings is the Narrator. The Construct is the mental block of the Quiet and the princess. I would guess the obliviousness, the unawareness is what the piece that the princess has gotten from us. I´d reccon the long quiet is oblivion, not death, but the absence of everything. therefore it couldn´t be aware, because it never was. they got that part of the princess, "us" so to say, that one line that remembered it everything since it´s creation, and our mirror showing us the actual sentience that was given to us. Of course the more aware we get of there being something off, the more the Narrator´s construction, the image he took and placed us in becomes irrelevant. And when that mirror is shattered, well the echo dies. Another idea i have; What if the Long quiet and the princess were the ones who accepted the Narrator´s prayer? A man, one who died splitting god, weaving reality, and creating a limbo can´t really get an explanation, except he was given the power by "god" itself? Suffering from independence, the constriction of absolute freedom, we see with possibly the cannon ending, them both being in the cabin as people... I think it´s the only way we could get a satisfying awnser to how the Narrator could do it besides sheer willpower.
I'd like to add another detail that wasn't shown in game, but that we can deduct by logic of events. Certainly, the construct doesn't have a defined form, the form is given by shifting mound, and the form depends on long quiet's perception, so, why do we always start at the world the narrator describes and why does it change later?, because the narrator is the one molding LQ perception, cause he robbed both gods of their memories and thus their awarwness of self. Those echoes could be some kind of very advanced AI that keeps track of LQ's progress, thus attempting to give an accurate description of the cabin, yet he always fails with the woods in ch 3, I guess he can't grasp very well how LQ's perception affects reality. Now what's the secret detail?, the second thing narrator did to trump us. Chapter one is supposed to be "The Hero and the Princess", yet he shattered our heroic will before the start, that's why we have a Hero voice in chapter 1, it isn't supposed to be like that, we're supposed to develop and mold a personality with each loop, but the Hero was never molded, in fact, while every other voice has a very defined pattern of personality, the Hero doesn't, he's mostly neutral, and sometimes he's even like us, just reacting and waiting for our decision. He didn't have strength because the Narrator prevented us from building up a heroic perception of us. That is why the only time the Narrator can directly control us is in chapter 1 and only if we play the same way the Hero would've done it if he was us and we were molding him, because he hoped for us to be an empty husk to control with his notion of Fear. He immediately resorted to shunning the Hero first time he spoke almost in a robotic manner, I guess he wasn't expecting Hero to emerge, although a shadow of what he should be. It was enough to be able to resist him though, with the little heroic strength, and the awakening of either skeptical or smitten, we manage to not be a husk for the narrator's will. Hero tells us that something is amiss directly "there's a reason I'm telling you this and there's a reason as to why you listened", we and our heroic remnants were aware that something was amiss, because we SHOULD'VE been HIM originally. The Cold is what narrator wanted to obtain from us, that's why Hero says, as the last chance to listen to him at that point, "being a cold-blooded killer isn't very becoming of us", all of this is why I suspect our original personality, or at least, what our subtle connection with shifting mound would've led us to be for her, is her Hero, and narrator feared this, thus making this plan. As our other half said to us in the end, the construct is a prison of fear, narrator's fear, and Hero would've been its greatest thorn. Just as other well fledged voices can overpower reality with their will, imagine if Hero was properly developed in the beginning, he would be unstoppable, he's the hero after all, the one who always saves the day no matter what. Moreover, by saving princess in chapter 1, the fear the Narrator wanted to instill on us would weaken significantly, with our hopeful strength no challenge would stop us, princess could even still be princess in chapter 2, because as we recall our past, both would understand immediately that the narrator is lying and scheming something, LQ's perception of the princess wouldn't be altered that much, albeit perhaps on a more positive light. If fear was the obstacle, it would've been shattered sooner than later. And his special circumstance is why Hero helps us in the end, he's detached from shifting mound because he never had a story of his own with her, so he's free to roam, and with our own awakening, he gained the power he should've gotten in ch 1, he's so strong he can force an awakened LQ into the core of SM even if we refuse his help. So yeah, if we could've properly been The Hero on ch 1 just like the title says, it would've been an easy win for the twin gods, f*ck you narrator, I'm sad that we hero gets left behind in the end when we do what we would've done in chapter 1 as him when leaving the cabin with Princess, poor Hero ToT
I love this theory, my personal theory is a bit different however. We know that the narrator put a tiny part of himself into the long quiet, and that the long quiet and the shifting mound also share parts of each other. I believe that the narrator himself is the cabin, wich is why it stays constant, an echo cant percive change, and the way it "spoke" to the beast sounds like what the narrator would say. The long quiet was straight up just confirmed to be making the walls of the construct, and i think the reason it changes as the princess changes is because he has a part of the princess inside him. Apotheosis is the only route the princess can leave of her own free will because the long quiet already percisves her as a god with no bounds , permitting her to leave it. I think the closest thing to a physical description the construct could have is a non euclidean fractal that exists in every universe simultaneously, the further you go into the woods the more you notice how its just the same thing folded infinitely into itself. It would just be a large mass of feathers out in space , and if you try to go in you just get stuck in the infinite folds
I think that the prison exists across different realities, and in each of those realities the narrator comes to a different conclusion about how the prison works... but never truly understood the underlying mechanisms behind the ritual he used to create it, only his observations of the world his ghosts found themselves in and was able to draw a conclusion quickly. Who knows? Maybe most of the conclusions are correct - but the rules are different for each universe.
TLQ and the mound/cabin/princess is eerily similar to the Shiva Shakti dynamic of "hindu" thought. that which is not (TLQ) and that which is (the princess). the two fundamental dynamics of reality
If they are memetic beings the only thing he would need would be to have a particular perspective about them. It's notable that much of their being in truth isn't actually defined by him.
you are missing the entire point of the game it is only what you make it, its even how the game works the game itself says something about trying to put the undiscribable into words you objectify the subjective the game is what you make out of it, thats the message of it
Saying that the game is whatever you want the game to be, makes the game sound extremly hollow. Yes, the game on one level is a psychological mirror, but saying there aren't any layers below it would mean that the interpetation: The cabin is a slaughterhouse for colourful sonic OCs" is just as valid as any other take and that doesn't sound right.
@@Princess-Pointless-Dump you misunderstood me I was just saying it in simpler terms, for convenience sake of course it isnt completely what you want, but you shape it into what it is yes there are objective truths, but not many it just seems like you are trying to say that you are figuring out the objective truth, which then annoys me because it goes against the whole theme and message of the game
@@Princess-Pointless-Dumpit's a game about philosophical gods being tricked by a mortal so it's gonna be vague and have multiple answers. it's unrealistic to think that Sims didn't add a few metaphors with multiple meanings, and bringing a straw man sonic argument in to make the og comment sound less valid makes you look stupid.
Both The Long Quiet and The Princess being the prison would also add another layer to the "become your own jailor" achievement in the prisoner route.
somehow, this reminds me of furi. "the jailor is the key. kill him, and you'll be free"
Its not both of them, though. It is explicitly just The Long Quiet.
In the Mutually Assured Destruction & The Empty Cup chapters, the Long Quiet manages to get rid of all voices including the Narrator, and the construct changes when he does. When the voices are gone, the basement turns back into its original form from Chapter 1 and when the Narrator is gone, nothing is left.
Since the voices are created from past experiences, silencing them means disregarding all those experiences which have shaped the construct and the princess. With all those memories ignored, the construct snaps back to how it was before those memories even existed. The princess remains the same because her present self is the only thing not ignored. The Long Quiet also forgets all that the Narrator has told him including that famous "You're on path in the woods", which makes the woods disappear. As the game says, "There is only the dance".
If that's how it works, I can see why the Narrator is so eager to say those first lines as soon as he awakes! Without those there is no available perspective of the surroundings, no path in the woods, no cabin, no prison, nothing.
That would explain why the presence of he voices diminishes the power of the narrator, he no longer is he only voice shaping your perception
The voices even sometimes say that they don’t know what’s going on unless the Narrator is explaining
And we should've been the Hero at that point, the other voice who doesn't affect our perception because he was shattered from us before we even begun, we were originally going to be him, just as the title says, "The Hero and The Princess"
That's also why The Cheated is able to start you at the cabin when he gets tired of the woods over and over again, because he gets the first perspective before the Narrator can say anything
The narrator mentions that the entire "princess" set up, wasn't his idea. I think he just set up the basic context of the scenario, and the specifics fell to the Long Quiet. *You* conceived of the Shifting Mound as a princess because it's something both important but "on your level". The features of everything were your perception, only slightly guided and reinforced by the narrator in the direction he needed using the bits of himself he effectively left within you. Past that point he's ad-libbing.
I find it interesting that the Long Quiet is effectively the foundation for this pseudo-reality, the ground and firmament, while the Shifting Mound is effectively everything else. Not just the forest, but the stars in the sky. But even then, the cabin *interior* changes. Even in the Moment of Clarity when all the construct is breaking down, the walls themselves remain and even when those fly away the Princess is *still* trapped until you give her your hand (even if you were broken to assent). It seems that the "cabin" isn't strictly you or the princess. Furthermore, in the end of the spectre ending's first run, the narrator says that he "made this happy place for you" and I believe he's referring to the cabin itself. This leads me to my conclusion, that the cabin is the domain of the narrator, who has special control over it. But since the narrator is also in you now, the cabin is part of you too.
Addending this because I thought of something else.
I think the cabin is the truest form of the construct. Like everything else its specifics were decided by the Long Quiet, but it seems the most "narrator" part of you, the one work of artifice in this entire place. Even then though I don't think it's truly "part" of the narrator, but his creation. The mirror is the narrator's aspect, and the cabin persists even in his absence. The Burned Gray, for all her idealism, seems to have an intuitive sense that it's the place, the cabin, that drives you two to hurt each other, and her solution is to destroy it. But it won't last forever, whether or not you engage with it, it breaks down. But without perspectives and self-understanding, that doesn't do either of you much good and you'll just languish in ignorance and mentally decay into nothing.
One thing that adds to this theory is that the narrator never knew the princess, would be a princess. That was the protagonist's subconscious doing.
To psychoanalyse a god, she had to be someone above you, but approachable. Not an ant, or a soggy piece of bread.
3 am brain is writing this, but I want to add something:
in chapter 1, the narrator has a lot of power. he can lock the door and drop the knife into the basement all by himself.
for chapter 3s, in the wounded wild route, it's mentioned that the narrator cannot control reality because he's "tired". like an echo, they fade over time, as perhaps so is the case for the narrator's strength and influence.
in the wraith route, even as the visual of the hallway matches the narrator's words, the wraith defiantly says "you cannot describe me into existence. the door is right there." and so it is.
I'd always assumed that he's able to take control because in chapter 1, its just you and the hero, chapter 2 onwards its you, the hero, and one other voice, probably all capable of fighting back the narrators influence
@@sidneyrobinson18 This is further supported by the fact that in one chapter (I sadly don't remember which) the voices have the power to actually act. One of them throws the knife through the window and later regrets that decision. Therefore, the voices are not powerless and they might indeed be able fight back the Narrator's influence.
@@playz7 Lmao that was the voice of the Contrarian I think. Also there's another time where you're being forced to stab yourself and the narrators like "Hero! Are you just gonna let this happen?!" and Heros like "I'm on it!" then your other arm shoots up and starts to try and prevent you from continuing to stab yourself.
Narrator did a second thing to trump us in the construct, he most surely feared that our subtle connection with SM would led us to be her Hero, to join with her instead of have conflict even if we had no memories, he feared that our connection could lead to our Love with her, and his failure.
So what did he do?, first, he has "power", not really, he's using OUR power to shape reality against us, taking advantage of our ignorance of self and no memories, but our self is godly, and he can't grasp it nor hope to control it, so what could be the greatest thorn in that despaired situation he wanted us to be?....the Hero who surpasses every trial, every challenge, that emerges victorious no matter the situation nor consequences, the greatest power that can trump fear and lead the way to our love.
So he shattered us, why do we always shape and mold a personality with our actions, yet Hero is from the beginning?, it's because Narrator ripped off our capacity to be a Hero. Every other personality has a definitive pattern of likes, dislikes, what they want to do and not, yet the Hero is empty, sure he has some notion of heroicness at the beginning but, he's always neutral, always reacting, like us, sometimes agreeing or not, sometimes just "quiet" like us and waiting for our action and decisions, Hero didn't have power, the Narrator ripped us off the possiblity of molding a heroic personality of ourselves and thus giving ourselves the heroic might to overcome his clutches directly. Yet, he's doomed to fail, he can't grasp infinity and definitely underestimated our original self, Hero still showed up, as a shadow of what we should be, but still showed up, offering us the chance to NOT be an empty husk like the narrator wants (The Cold), by saying "being a cold-blooded killer isn't very becoming of us".
We also know something's wrong with ourselves, when talking to the princess Hero says something like this (don't remember exact words but definitely sure it was like this I played it yesterday) "There's a reason why I'm telling you this and there's a reason as to why you listened", he's clearly implying the connection we have with him, that our personality should've been one, Narrator ripped him off, but couldn't do so entirely, that's why we listen to him (if we choose to of course), because we should've been doing things like him and thinking like him, as one, because the chapter is called "The Hero and The Princess", we should be The Hero, not another personality in the making.
And that's why the Narrator con only directly control us in Chapter 1, and ONLY if we try to do what we should've done, be The Hero, do the Hero route, if we do anything else, become skeptical, smitten, paranoid, contrarian, cold (he wants this one), broken (he clearly isn't going to expect this one lol), stubborn he can't stop us, because that possibility is within ourselves and we develop it and give it strength, to that perception of us that affects our reality and goes over Narrator, who as I said at the beginning, has no power other than manipulating us into using our own power in his favor, he can only overpower us trying to be a Hero because in that case we're barely something empty with a shadow of the strength we should've had.
Yet, the fragment of the Hero inside us, with the awakening of either Skeptical or Smitten was a combined force enough to resist killing her, Narrator clearly can't win against gods lol, and certainly underestimated the power of love between these two.
So to sum it up Hero is the strongest, or should've been, he can even force the Awakened LQ into SM's core even if we refuse his help, that's the level of power he has and the story, while still having one, would've been way different and an easy win for the twin gods if we could've been the Hero in chapter 1, cause we're kicking away the Narrator's fear from the start, and our perception of the Princess and of ourselves, and in consequence the reality around us and the situations we would live, wouldn't be tainted that easily with Fear, Love would've won sooner and easier this way, shattering the Narrator's narrative.
There’s something else that never changes along with the cabin’s exterior: the pristine blade. I feel like that should’ve been at least mentioned, even if its true nature and purpose is fairly obvious by comparison.
The only time the Princess is dead and stays dead, no matter the path, is with a stab in the heart.
You have to break her heart.
it does change though it the second version of tower with the help of paranoid you believe the blade can change and it does changing shape and becoming longer and stronger
@@dangergames5113 well that didnt exist back then
@baggelis678 i didnt i thought that remainththe same?
@baggelis678 i want your opinon on something does the player change during the princess and the dragon route becuase he looks a lot bigger than he did any other route
I'm fairly certain that the Construct _is_ the Long Quiet, and His.. "body"; the threads (or, perhaps more accurately, feathers) of His form woven into an imitation - partially reinforced by the Long Quiet's belief in it, partially through the effort of the Narrator - of a path in the woods and a cabin. The Narrator quite literally trapped the Long Quiet in His own body.
This explains why the Narrator is able to influence the world around the LQ - because; by making himself a part of the Construct, a part of the Long Quiet's body, like the world's most thanatophobic parasite; he can somewhat influence its motions.
This explains why you need to have your memory wiped by the Shifting Mound after She unravels the illusion of a material space in order to return to it, because its existence is solely contingent on the Long Quiet's continued belief that it is, indeed, a path in the woods.
This explains why He can let the Princess out of the cabin, because that can be seen as expelling her from a part of His body.
And I'd venture to say this also explains why the "Slayer"'s body slowly withers to nothing as he gets closer and closer to discovering what He and the Construct both are.
Also, according to Abby Howard, the background in the mirror is a part of the "Slayer"'s body, so.. make of that what you will.
I mostly agree though I think you could note the narrarator isn't truly a part of the LQ. He is instead part of the narrative "construct" that shapes it. Which is a important difference in it meaning he doesn't change and by that same token cannot realize various changes to the ontology of it unless you bring it to his attention. This is also the reason one can note he dies when you break the mirror, you at this point have fully realized the narrative of having a body, of slaying the princess is a lie. You can choose what else to do but at that point the illusion that kept him around is gone. It's a more impactful version of whenever a scenario diverged from the narrative enough in previous routes for you to push back dissappear or for him to dissappear.
Who is the slayer in this story
@@P_I_G_G_A I used the term to refer to the Long Quiet _before_ He found out what He is, and the limited form he was forced to occupy. I also distinguished the two with the use or lack thereof respectively of capitalization in "he".
@@purplehaze2358 ok thanks
@@purplehaze2358I always found strange that we look all monster like, like a dragon that chains and kills the princess, not the hero in shining armor that saves her. I guess if we could have a form of our own it would be that, a knight in shining armor
Another way you could describe the Construct is that of "a Story". The very words being "Your on a path in the woods" being the first thing we hear immediately shape's Quiet's perception of reality. It also explains how the Narrator, who was presumably a simple mortal (or whatever he was) trapped not 1 but 2 gods. Because they were new gods they had no context of what they are/were, in doing so he trapped them within the very context of the story were playing!
It's much like his usage of "everything goes black and you die" to trick you into thinking you are dead. It's a conceptual scaffold.
I am taking a liking to these video essays. I never fully considered the implications of the construct
"You are the only thing I've ever known that isn't me." It was there all along.
The Cabin is the Shifting Mound's heart. where does the Hero take you at the end? no woods, no path - but still the Cabin, as it has always been. the Cabin doesn't change because, at least in the Construct, it's the constant of the Shifting Mound. The Long Quiet goes into her heart, at the center of the Construct, the deepest part of the prison, yes.
Underrated comment
So when the Beast talks about the cabin and how she understands it, it's because her more primal nature gives her the straightforwardness to understand what her heart feels. She believes that her own nature is suffering, which is a stark contrast to what the Shifting Mound believes at the end.
PRISTINE CUT SPOILERS BELOW:
Another detail that supports this is in The Princess and The Dragon chapter, where it starts off from the Princess's perspective in the cabin, and the words, "This is what you deserve," appear over and over again following the initial description. There's no Narrator, so this must be what the cabin, or the Princess's heart, is telling her.
Perhaps the Cabin is better compared to a chest rather than a prison: It's meant to keep certain things in and other things out, but what's inside may be precious rather than a prisoner.
When talking about a human chest, it obviously contains the vital organ of the heart, but the heart in turn is taken poetically as the centre of emotion.
To "get something off one's chest" is to releive the tension of emotional contents that wish to be let released.
It’s a tad ironic that a character called “The Long Quiet” always has voices in his head, don’tcha think?
I wonder, then, what is the piece of the shifting mound thay we find at the end of routes. She grabs the princess, but she isn't just that princess, as her conscience exists in some form even before awakening her (you can feel her and even be killed by her if you avoid the cabin in your very first run)
She is the wrangle of hands. Almost mindless, as the mind is in the princess, but with a nature, and a drive to follow that nature.
At first I thought she would be the woods, since they are the only part of the princess outside of the cabin (and the narrator would only dare use the least, more mindless droplet of the princess to create the outer layer), but it doesn't quite fit, does it? The woods are reset after each run, and they change based on your perception, but she doesn't seem to be influenced by you except for when you meet.
I guess she could still be the woods; or, I'd say, the woods from previous runs. That would explain why she needs at least one run to exist. Then, she remains outside of the woods of the current run, like an extra, thin layer, awaiting to grab the princess once she is out of the cabin
She could also be the part of the shifting mound that's still within you. It awakens as a princess frees herself and grows more and more coherent until the critical threshold is reached and it can literally wrench the rest of the shifting mound out of the basement, starting the climax.
This is why you can only really SLAY the princess in chapter 1(or the end). You always have a little part of the princess in you telling you that the best you can achieve is mutual destruction.
Actually, thinking along these lines, the Princess you find at the end in the cabin might be that internal piece of the princess. and if so that might explain what actually happens if you and the princess leave the cabin together. You sort of reverse the process the shifting mound used to awaken, pulling it through the lens of the princess to make it fold to your construct of the princess. while also binding yourself back down to just "The Slayer".
either that or the more likely scenario that the base consciousness/soul of the Princess and the Slayer just dip to lead mortal lives while leaving the voices to be The Long Quite and the reflections to be The Shifting Mound.
@@thatguydownthestreat The thing is, you don't have a part of the princess in you, not literally. You have a part of what should had been in her, and her has a part of what should had been you. But the princess is still the princess, and you are still you.
In other words, the Long Quiet is Stillness, with a little bit of Change. The Shifting Mound (aka the Princess) is Change, with a little bit of Stillness. The Long Quite has a bit of Change in him, not a bit of Princess
You can kind of understand what all the vessels and even your own voices are in her terms for when you first meet her and choose to wait. A you packaged into a particular box describing itself that may then be unpacked after a time to be with the totality of what "you" are. In both cases you are a totality but parts of yourself may be arranged and packaged like origami to present a particular way of being expressing possible models of existence on way or another.
I think you need one run to exist because as the gray terms it the cabin is a point of frozen futures. Shifty cannot be a future unless you get her out of the cabin in some way as she has no vessel of actual change to express and grow through. By that same token if you never leave the cabin you never grow out of the delusion that you are only a body and that you should not change like the narrative directs you to do. For either of you to br anything in truth you need to get past that point of stillness to see a version of yourselves.
@@travislyonsgary I never thought about it that way... You need to choose change, you need to choose to defy what the narrator presents as the current reality. If you don't, you stay still, trapped, quiet. You need to use the part of Change that exists in you to break free, you need to exploit the nature of the split to go against the echo's plan
The use of Sealed Vessel in this is immaculate.
It is interesting that 'the GLASS' of the Construct is mentioned a few times, in the game. I also think we'll get more info in The Pristine Edition of the game. A truly interesting and well-written story. A beautiful love tangled in hate, fear, and the unknown.
Even in the ending, when there is just a mountain of women left, the cabin still exists unchanged.
But now I wonder, why does it disappear when you meet the Shifting Mound before she's complete?
Hmmm. I think I can explain this but it'll take a bit.
In the Wounded Wild ending, you and the princess are temporarily fused into a gestalt entity before cutting yourself out, which reveals the cabin, which then proceeds to consume you. And when you reach the princess, her heart is already exposed. On one hand there's the whole power of perception thing, but I think the nesting doll comparison may be even more apt than we thought. Remember, the forest, the Wilds, *is* the Princess. She can call upon it. The Shifting Mound, was the forest before she takes her final form.
In the Moment of Clarity ending, the cabin disappears, but the Princess is still down there. The cabin is just the exterior; its walls can be undone, or even circumvented entirely as a spectre, but it's still just sort of "there". Furthermore, the game makes a big deal about the Princess's heart. It's the only way to actually kill her.
I think the construct exists in microcosms. The cabin disappears as do all other non-quiet features, but it's still there. You can see the hands of ol Shifty trying to break out. And the cabin exists still, in the same place it always does; around her heart. It's a cage that can be entered which holds her core. In whatever form it takes, the Princess's wilder, abstract self surrounds it.
Mountain of women, awesome wording lmao
A prison made from and for gods, held by the soul and will of one mortal
I think the cabin is the part of the Shifting Mound that the Narrator placed inside the Long Quiet. Love the video
holy shit dude cooked. what an amazing analysis video. also damn your voice is nice to listen to! I hope to see more content from you one day. thanks for posting this! and it is funny how this analytical smart deep voiced man is also the one making the "nya" videos
I have two wolfs inside of me.
One says NYA.
The other drops deep lore
Ohhhh wonderful analysis! The construct has always been the most confusing part of stp for me, and this video really helped. You mentioning the cabin walls always staying the same - I’d never noticed that before! I wonder if it’s related to how the Narrator wove himself into the construct, describing that since he was an echo, the shifting mound (and even LQ) couldn’t change him. It fits with how the cabin exterior is unchanging regardless of everything. Also interesting that the only time the cabin fully leaves is when the Narrator does too. And how interesting that LQ is the only one who can bring about change to the cabin walls - breaking the windows with contrarian, the structure decaying with the prisoner. What a wonderful game, that there’s so much to explore and analyze. You did amazingly, thank you!
I saw a few gameplays of this game, honestly the work you guys put together is amazing and this video just helped me wrap my head around it better on how things work
It's an amazing job, i hope you guys are praoud of yourselfs
What a excellent analysis tbh.
On my first reading I had taken away that they were personifications of stories and their readers, and while I still enjoy that reading I also very much enjoy "Life and Death, reincarnated, learning once again to love each other" because that's fucking great.
Can't keep me locked up forever...
You really deconstructed the Construct. That was a great analysis. I never considered the Construct to be alive before. But I guess it makes sense.
This is amazing! you deserve all the views
Wow, thank you!
The cabin best home fr fr
i finished the game only once (I mean with credits list ect) , but i'm gonna restart againg because i wanna see more scenarios as possible. this game is a masterpiece.
These videos are amazing! You're the best STP youtuber
Woah wait when did she say "am I not in the trees? Am I not in you?" That sounded like adversary
YAY, it's been put into words! Thank you for this.
Such a good game damn, it just keeps getting better and better with yur videos
if the space and its edges are long quiet and if enviroment is shifting mound, narrator is the cabin or part of the cabin
also remember that there are two chains down there. princess is chained to one only. narrator chained the cycle at both hands or something and when he tore the cycle apart each part was chained to only one chain. he then set the long quite free which is why one holds princess and one is empty.
there is also dialogue for pricness in which she says that cabin told her she could not leave, that cabin knew what she would do. that is what the narrator would say
I didn't really think about the Construct before, but I just decided to make a fanfiction with the Construct as the mc. No, I will not watch this video until I am done with making a oneshot of reasonable length.
Drop the name when it's ready
I just love the idea of the prison literally just being us. Because nothing can contain a god except for the god themselves... Until they realize they don't HAVE to stay there.
Love the content you make
Amazing analysis!!!
My take is that The cabin and it´s surroundings is the Narrator.
The Construct is the mental block of the Quiet and the princess. I would guess the obliviousness, the unawareness is what the piece that the princess has gotten from us.
I´d reccon the long quiet is oblivion, not death, but the absence of everything. therefore it couldn´t be aware, because it never was. they got that part of the princess, "us" so to say, that one line that remembered it everything since it´s creation, and our mirror showing us the actual sentience that was given to us.
Of course the more aware we get of there being something off, the more the Narrator´s construction, the image he took and placed us in becomes irrelevant.
And when that mirror is shattered, well the echo dies.
Another idea i have; What if the Long quiet and the princess were the ones who accepted the Narrator´s prayer?
A man, one who died splitting god, weaving reality, and creating a limbo can´t really get an explanation, except he was given the power by "god" itself?
Suffering from independence, the constriction of absolute freedom, we see with possibly the cannon ending, them both being in the cabin as people... I think it´s the only way we could get a satisfying awnser to how the Narrator could do it besides sheer willpower.
This video and the others that you make are good or funny but this type of video is really great
oooooooo
an Analysis of the Construct? Interesting!
I'd like to add another detail that wasn't shown in game, but that we can deduct by logic of events. Certainly, the construct doesn't have a defined form, the form is given by shifting mound, and the form depends on long quiet's perception, so, why do we always start at the world the narrator describes and why does it change later?, because the narrator is the one molding LQ perception, cause he robbed both gods of their memories and thus their awarwness of self. Those echoes could be some kind of very advanced AI that keeps track of LQ's progress, thus attempting to give an accurate description of the cabin, yet he always fails with the woods in ch 3, I guess he can't grasp very well how LQ's perception affects reality.
Now what's the secret detail?, the second thing narrator did to trump us. Chapter one is supposed to be "The Hero and the Princess", yet he shattered our heroic will before the start, that's why we have a Hero voice in chapter 1, it isn't supposed to be like that, we're supposed to develop and mold a personality with each loop, but the Hero was never molded, in fact, while every other voice has a very defined pattern of personality, the Hero doesn't, he's mostly neutral, and sometimes he's even like us, just reacting and waiting for our decision. He didn't have strength because the Narrator prevented us from building up a heroic perception of us. That is why the only time the Narrator can directly control us is in chapter 1 and only if we play the same way the Hero would've done it if he was us and we were molding him, because he hoped for us to be an empty husk to control with his notion of Fear. He immediately resorted to shunning the Hero first time he spoke almost in a robotic manner, I guess he wasn't expecting Hero to emerge, although a shadow of what he should be. It was enough to be able to resist him though, with the little heroic strength, and the awakening of either skeptical or smitten, we manage to not be a husk for the narrator's will. Hero tells us that something is amiss directly "there's a reason I'm telling you this and there's a reason as to why you listened", we and our heroic remnants were aware that something was amiss, because we SHOULD'VE been HIM originally. The Cold is what narrator wanted to obtain from us, that's why Hero says, as the last chance to listen to him at that point, "being a cold-blooded killer isn't very becoming of us", all of this is why I suspect our original personality, or at least, what our subtle connection with shifting mound would've led us to be for her, is her Hero, and narrator feared this, thus making this plan.
As our other half said to us in the end, the construct is a prison of fear, narrator's fear, and Hero would've been its greatest thorn.
Just as other well fledged voices can overpower reality with their will, imagine if Hero was properly developed in the beginning, he would be unstoppable, he's the hero after all, the one who always saves the day no matter what. Moreover, by saving princess in chapter 1, the fear the Narrator wanted to instill on us would weaken significantly, with our hopeful strength no challenge would stop us, princess could even still be princess in chapter 2, because as we recall our past, both would understand immediately that the narrator is lying and scheming something, LQ's perception of the princess wouldn't be altered that much, albeit perhaps on a more positive light. If fear was the obstacle, it would've been shattered sooner than later.
And his special circumstance is why Hero helps us in the end, he's detached from shifting mound because he never had a story of his own with her, so he's free to roam, and with our own awakening, he gained the power he should've gotten in ch 1, he's so strong he can force an awakened LQ into the core of SM even if we refuse his help.
So yeah, if we could've properly been The Hero on ch 1 just like the title says, it would've been an easy win for the twin gods, f*ck you narrator, I'm sad that we hero gets left behind in the end when we do what we would've done in chapter 1 as him when leaving the cabin with Princess, poor Hero ToT
I love this theory, my personal theory is a bit different however. We know that the narrator put a tiny part of himself into the long quiet, and that the long quiet and the shifting mound also share parts of each other. I believe that the narrator himself is the cabin, wich is why it stays constant, an echo cant percive change, and the way it "spoke" to the beast sounds like what the narrator would say. The long quiet was straight up just confirmed to be making the walls of the construct, and i think the reason it changes as the princess changes is because he has a part of the princess inside him. Apotheosis is the only route the princess can leave of her own free will because the long quiet already percisves her as a god with no bounds , permitting her to leave it. I think the closest thing to a physical description the construct could have is a non euclidean fractal that exists in every universe simultaneously, the further you go into the woods the more you notice how its just the same thing folded infinitely into itself. It would just be a large mass of feathers out in space , and if you try to go in you just get stuck in the infinite folds
Promising channel!
I’d love to see a video on the voices
Its a crazy catacomb
I think that the prison exists across different realities, and in each of those realities the narrator comes to a different conclusion about how the prison works... but never truly understood the underlying mechanisms behind the ritual he used to create it, only his observations of the world his ghosts found themselves in and was able to draw a conclusion quickly. Who knows? Maybe most of the conclusions are correct - but the rules are different for each universe.
"This is a love story."
Really appreciate your work , please come back to youtube.... haven't posted in 6 months....
Sorry, but I am done witchposting.
I am working on other projects right now. Thanks for your support though.
Greetings!
Praise algorithm gods!
I miss your memes. But this is great too
Holy shit. It makes sense!
Me trapping my gf in my own body as a cabin because boss told me to
This is peak
Penumbra Overture
I like these vids best
TLQ and the mound/cabin/princess is eerily similar to the Shiva Shakti dynamic of "hindu" thought. that which is not (TLQ) and that which is (the princess). the two fundamental dynamics of reality
Hello. Do you think you can analyse the Voices in another video? I am not completely sure I understand them ..
But how did the narrator, a mortal human without any said supernatural abilities able to make a construct of stp by mere belief alone
If they are memetic beings the only thing he would need would be to have a particular perspective about them. It's notable that much of their being in truth isn't actually defined by him.
5:30
If this is true then how come she breaks out by herself in the Apotheosis route?
Who's Dipper
My friend
First :3
🐜
I thought this was a ai voice until I heard you breath in
You have a very kino voice
you are missing the entire point of the game
it is only what you make it, its even how the game works
the game itself says something about trying to put the undiscribable into words
you objectify the subjective
the game is what you make out of it, thats the message of it
and this video shows what they make of it
@@izan72024 but they dont say something like:"this is my opinion" or something along the lines of that
Saying that the game is whatever you want the game to be, makes the game sound extremly hollow.
Yes, the game on one level is a psychological mirror, but saying there aren't any layers below it would mean that the interpetation: The cabin is a slaughterhouse for colourful sonic OCs" is just as valid as any other take and that doesn't sound right.
@@Princess-Pointless-Dump you misunderstood me
I was just saying it in simpler terms, for convenience sake
of course it isnt completely what you want, but you shape it into what it is
yes there are objective truths, but not many
it just seems like you are trying to say that you are figuring out the objective truth, which then annoys me because it goes against the whole theme and message of the game
@@Princess-Pointless-Dumpit's a game about philosophical gods being tricked by a mortal so it's gonna be vague and have multiple answers. it's unrealistic to think that Sims didn't add a few metaphors with multiple meanings, and bringing a straw man sonic argument in to make the og comment sound less valid makes you look stupid.