Hello, Iâm c365 but you can also call me cos. you can call me cosine too, rando gamers like to call me that.Â
I go by any pronouns I donât have a preference.
I pretty much just draw and reblog art here and post about random stuff. My art style may vary a bit.Â
I have a small HK/SS AU tagged #Musician AUÂ
OC stuff is tagged with #myocÂ
Music stuff is tagged with #music stuff
other than that uhh this blog is pretty messy sorry
Feel free to ask me anything about my stuff as long as itâs not nsfw. Youâre also free to draw my OCs, just tag me if you do.Â
If you are DMing me for whatever reason, please do not just say "hi" and not follow it up with anything, or I will assume you are a bot and ignore and/or block you. I shouldn't have to say this but please do not ask me personal information jfc.
I also draw with fountain pens. If you are curious as to what pens I use (I also tag them in my posts):Â
12th Architect: Bug-Red?
12th Architect: Oh!
12th Architect: Cog-Knight. A rare sight you g-grant this Architect.
2nd Sentinel: A friend told this sentinel that you could p-p-provide repairs.
12th Architect: I am no match-equal to your makers. But I shall serve, as I am able.
2.
2nd Sentinel: Maker?
12th Architect: Y-yes?
2nd Sentinel: Can you b-build this sentinel's heart core anew?
12th Architect: The skills required are long lost-forgotten. I cannot creat-copy a work so fine.
2nd Sentinel: âŚ
3.
12th Architect: W-why do you ask this? There is no flaw-error in your heart core.
2nd Sentinel: âŚUpon this sentinel's waking, it found all other sentinels s-s-shut down.
4.
2nd Sentinel: Alone, is this sentinel. The duty of the s-s-sentinels is eternal, yet still this sentinel finds itself lost.
12th Architect: âŚ
5.
12th Architect: âŚYou will grow used to it.
2nd Sentinel: To what?
12th Architect: To being left behind. To l-l-living on.
thought abt them for too long and my stomach started hurting so i assembled a bath kit for them. please drag the silk soap and various accoutrements and gently wash them with me. if you feel so inclined.
I was feeling agitated and artblocked yesterday so I decided to give my brain a rest by watching TV and then the next thing I knew these were in front of me
Been thinking about the implications of replaying hotline miami after finishing both games
How different events and dialogue are both in the sense of âOh I know what this is referencing/alluding to now!â but more strongly the almost timeloop-esque experience of âWhy are you doing all of this again?â
When I was replaying the first game I kept getting caught on Beardâs dialogue when you see him in the shops. How they both hint to his earlier death but also Jacketâs avoidance to address it directly. When you first see him heâs excited and goes on about having not seen Jacket in a bit and references the last conversation theyâd had together about Jacketâs ex, but then vaguely goes âDonât remember seeing you after thatâŚ. Maybe we should talk about something elseâ. Itâs cryptic the first time but going back to it after playing through 2 you have a new realization of what its referencing. And Beard getting squirrelly about it and quickly shuffling the conversation along is just Jacketâs mind trying to squash the memory down again. And then later on when you see him again after fighting Biker, Beard talks about how thereâs a bad sort of energy in the air, something he âhasnât felt since San Fransiscoâ, which the player connects later as being tied to Richter and Jacketâs girlfriendâs murder. While you donât really understand Why Richter does what he does originally, after the context of 2, you recognize that it was directly because of Jacket and Bikerâs fight and his own involvement. Beardâs dialogue serves as both an omen of what has already happened that you donât find out until 2 with his death and with Richter, but it also sets up as a warning of whatâs to come with his girlfriend, something comparable to the events in San Fran
But more to my actual thesis of this rant cause that was mostly just one specific thing that made me flinch whenever I was experiencing it
Throughout the whole game once you replay it, thereâs a stronger air of. Judgement, going on. Richardâs warnings and commentary hits twice as hard when its reframed as âWhy have you come back? What do you stand to gain from redoing all of this?â
Another thing that stuck out to me was the gametip âTip: Sheâs already deadâ that comes up right when you start Trauma. In the first playthrough it already feels like a warning of sorts. She's already dead, there's nothing you can do, don't continue down this path you're on, there's nothing for you. But then a second time playing the game and seeing it it has a more. "She's dead, remember? You can't change that, doing this again won't change that, you're not going to fix what's already done". So many actions in a replay of this game feel like a desperate attempt to try to rewrite what has already happened and what cannot change, its set in stone and all youâre doing is reopening those wounds.
And yeah thereâs the judgement angle of the whole âDo you like hurting other people?â being a sort of metaphor for the player replaying the game and killing everything again for shits and giggles, but thereâs also a. Sadness to it, almost. Like a larger entity watching somebody who is aware that they are stuck in a timeloop, and despite all odds being convinced something may change this time.
And it just kind of ties in to some themes that Iâve previously thought about between both games. Generally speaking I feel like their messages are a mix of empty nihilism in the first game, âwhat do you even gain from all of this? What does it matter?â and the second being a warning of âDonât overcorrect on that nihilism and become so consumed and obsessed with your goals that it ruins your life because it might have been for nothing in the end anywaysâ. The first game in particular ends on a note of letting go, of finally finishing what you set out to do and getting some degree of closure. Why would you go back and do it again? Wasnât it hard enough the first time? And, while I havenât replayed 2 yet, I know its got additional shit and servers to lean back on the âDonât get too invested, this is all going to end in tragedyâ
But then itâs like
Itâs still worth it to, in my opinion
You may know how it ends, but now you have a broader context.
To use Beard as an example again, going back to the first game after finishing the second has a lot more weight to it once youâre aware of who this man actually Is and what the implications of his involvement in 1 are for Jacket and their relationship. You as the player wouldnât have gotten to see that understanding and new awareness of the context behind the weird cryptic shit Beard says and does in 1 without going back to it to redo it again. Sure it goes nowhere, heâs still dead, but thereâs another layer of. Appreciation? Respect? Acknowledgment of the depths of these characters and their role in the broader story.
The game doesnât necessarily judge you or punish you as severely for playing/replaying it as I feel some people say, I feel it more pities you for wanting or needing to go back and re experience these tragedies again, as if it were some kind of emotional self destruction for Jaket and by proxy, the player.
Don Juan I feel represents this pity perfectly, acting as the sympathetic and concerned parallel to Richardâs cryptic warnings and Rasmusâ hostility. Richard tends to not really feel a particular way about whether or not you should do the shit that you do, he just wants to make sure you take responsibility and understand just what consequences are coming to you if you do. The most punitive judgement you receive from him are effectively âYou did this to yourself, I donât know what youâre looking for hereâ. Rasmus is representative of the levels of violence and senseless killing that Jacket partakes in, whether that be a metaphor for the men heâs killed or the primal emotions. Heâs angry at you, he wants you Gone, especially under the context of doing it again. Havenât you had enough??
Don Juan though is repeatedly concerned about you, trying to comfort you and urge you to settle down and brush away some of Richardâs incidental harshness. I wouldnât say sheâs trying to make you Not Think About It, but is moreso concerned of the consequences if you do, and trying to ease you as much as possible, whereas Richard is nothing but consequences and self reflection.
But in a replay, her comfort and worry feels more personal, especially if you thread a connection between her and Jacketâs girlfriend as a lot of folks in the fandom do, despite having been there before. And her whole âYou donât know who you are?â and â"Acknowledging oneself means acknowledging their actions, and lately you've done some terrible things" have more impact the second timeâ. Cause yeah, the first time youâre playing you donât know who Jacket is or any of the setup besides the shit in the prelude. But in a second player it feels more like itâs trying to make you aware youâve been here before. Not judging you, but making you kind of think, remember who you are and what you did, and ideally make you reconsider doing it again. âYouâve done some terrible things, and you donât know who you are. Maybe we should leave it that way?â It comes off in a way thatâs comforting and somewhat intentionally obfuscating your responsibility in all of this, but underneath it it gives the impression of a concerned mother who already knows exactly what you did but trying to comfort you regardless, but making you feel this bone deep guilt and remorse because you both know how terrible you are but you canât bring yourself to say it and she canât bring herself to acknowledge it.
I feel like Richard and Rasmus are a bit more obvious in what theyâve got going on in their role in the narrative, especially in regards to a second playthrough. Richard casts detached judgement and reminds you of what youâre getting yourself into, Rasmus openly berates you and antagonizes you for your desire and even enjoyment in doing it all again, and Don Juan, despite being the most openly comforting and sympathetic, inadvertently worms out the most awareness and guilt in the player (or at least, in Jacket), because of how gentle she is.
Reiterating, thereâs absolutely judgment present in these three, but it feels like a sliding scale of sorts.
Richard judges, not in a personal way, but in a very detached way of âYou've gotten yourself into this. Here's what's going to happen now. Think real long and hard about how you brought this on yourself" with a slight sense of distant pity in the same way a person might feel for a relative who is actively sabotaging their own life. What youâre going through is terrible but you did this to yourself so I canât bring myself to feel sympathy. He doesnât care what you do, he cares that you take responsibility and own up to it. If youâre going to be terrible, be honest with yourself.
Don Juan by contrast has nothing but concern and pity for the player, with a slight dash of judgement in a âI know what you did but its better for all of us that we just donât address itâ
And generally, back to the timeloop themes, it contributes to the sense of futility throughout both games. That no matter what you do its not enough. This isnât an open ended game, where you can go back and make different choices and get a happier ending. This is it. In the spirit of the second game, its all prerecorded on a VHS tape, you can pop it back in to the VCR and rewind as much as you like but the outcome is always going to be the same. And various parts of the game respond accordingly, even if unintentionally, to make you really consider the weight of your actions and willingly going through them again.
Simonâs ability to navigate is cracked asf to Eridians!!! /pos
OKAY so idk if this is canon cus I canât find the post but someone made a post about how Eridians apparently donât have a spacial memory/recall/remembered spacial awareness like we do, and therefore if they walked through a room and âsawâ it, then tried to walk through the room âblindâ aka deaf and unable to echolocate, theyâd be totally lost. They donât retain awareness of how to navigate that space. Unlike humans, who can mentally visualize the navigable area of a room they can no longer see, allowing us to walk around in the dark with some semblance of where things are. That post mentioned how confused Eridians would be seeing Grace walk around his house in the dark and not run into Everything, he actually seems to know where heâs going.
And then I had a realization while rewatching Iron Lung. THEY WOULD FIND WHAT SIMON DID INCONCEIVABLE. Absolute freak of nature shit. And what I mean is his ability to map his surroundings and learn them and navigate them. Simon literally could never effectively see things while moving, all he had was a proximity radar and occasional shitty photos that would only ever be âhow things looked 3 seconds agoâ, and he mapped the area in the blood ocean with decent success and at certain points no longer even needed his map. He managed to gain a sense of his surroundings outside the ship, and understand those surroundings, navigating essentially blind. Only knowing/discovering if something is in front of him once heâs right there almost up against it, close to collision. Building a visual of the space by approaching a direction until he is stopped. And that method of navigation?
In all reality, what most accurately describes the way Simon navigated is by feel. Simon navigated by touch.
âŚ.and I think I need to make some fanworks about that.