Playing Fruitbus
There were a few bugs, but it was a fun game.
Cooking was fun, but the driving was surprisingly enjoyable too.
The sunset is beautiful.
2) To all of you who love the yellow brigandine made in Milan.
During the romantic scene, the chain mail around Henryās neck came off on its own.Whenever I wear this brigandine, it reminds me of the beginning of KCD2.
I wanted to create Hans's avatar in gogh, but there weren't any good hairstylesā¦
I'm happy that I was able to display Kingdom Come on the game package and screen.
To those who love the yellow Milan-made brigandine.
Itās striking how, as both a knight and a retainer, he never hesitated for a moment and never once looked back at Hans.
I really liked the first yellow armor, so I kept it on until the very end.
I love the way Henry stares intently at Hans.
With that, Iāve finished DLC 2, and itās finally time to start DLC 3.
It was a beautiful game.
The translation was a bit of a letdown, but each character had their own distinct personality, which was fun.
I hope Zoe finds happiness.
KCD1 finished! After playing KCD2, Henry and Hans' relationship felt fresh again.
After all, in the final scene, he's sleeping in Hans' room, on Hans' bed.
They even went out of their way to change the bed's orientation.
Was it to reflect the window and show the chickens?
I can't help but think the beginning and end are connected.
And as a Hansry fan, I thought the sword's transformation from 1 to 2 was brilliant.
Henry's expression in this scene has always troubled me.
It's after Godwin says, āGood luck, son.ā
He doesn't seem to be about to say something, not that she smiled in agreement, he looks away.
Henry recites prayers facing the shrine, but he only prays for things beyond his controlālike Hans's injuries or people who've been treated and can only pray now.
Even when Hans faced hanging or was taken away for imprisonment, Henry showed no despair or divine supplication. He was filled with resolve to save him.
(Excluding interjections in dialogue)
At the funeral scene, Godwin is positioned directly between Henry and Hans.
It might just be the camera work, though.
While Godwin delivers his sermon,
Hans and Zizka listen intently, while Henry, Sam, and Katherine appear distracted, swaying or looking away.
A woman who had been crying bitterly stops, and Hans and Sam look toward her.
Henry might be looking straight ahead, but it appears he's looking toward Hans and Sam.
Even if it's not according to the rules, if you pray sincerely, if your feelings are genuine, God will hear youāI think Hans was the one who came to believe that.
Because Henry had already experienced it at his parents' burial.
His gaze is turned away, as if to say he already knows.
This realization likely gave Hans the push he needed, leading to the romantic scene.
I looked up the English translation of āGood luckā again and was a bit surprised by the difference between āluckā and āfortune.ā
[Good luckć»Potential for sounding sarcastic: When the other person is already in a tough situation, and your encouragement might come across as āWell, it's all up to luck now, good luck (though it probably won't work).ā
In English-speaking cultures, the implication of leaving things to āluckā is strong, and depending on the situation, it can sound cold or sarcastic.]
Of course, I don't think Godwin meant it sarcastically.
Godwin and Henry are devout, yet they won't hesitate to sin for their goals or desires.
However, unlike Henry's āI'm never going to run do that againā Godwin frequently says āI should have run.ā
He fled from his father, fled to alcohol, and was expelled by the bishop.
The difference between Godwin and Henry lies in whether they have Hansāa symbol of not running, a symbol of facing things head-on.
The playable character switches, and ultimately Godwin stays by Hans's side, fighting to the end without fleeing.
Godwin, too, is moving forward alongside Henry and Hans.
Godwin said āGood luckā as if to emphasize it.
After the cross was made on his forehead, Henry immediately averted his face and body.
(Just being cautious? Well, maybe.)
Even so, Henry's demeanor in this scene is distinctly awkward.
The phrase āaudentes fortuna iuvatā repeated between them multiple timesā
I wondered if it might represent something new they'd come to believe in (each other), cultivated solely between them, replacing prayer to the gods.
It's not the short-term word āluck,ā but the life-staking word āfortuneā that binds them.
What began as a bright slogan uttered by Hans
evolves midway into words of mutual encouragement between Henry and Hans,
only to shift in the final act when Hans is struck by an arrow: āDidn't fortune favor the bold?ā
Was what they believed in wrong?
Godwin might have hinted at Hans in a positive light to Henry.
āSeize fortune, advance without retreat.ā
But Henry, suddenly intruded upon (or perhaps sensed) in something he shared only with Hans, was at a loss for how to react.
Or, before taking a dangerous step forward, thoughts of Hansāwho likely shared his space just minutes beforeāflashed through his mind, stirring guilt before the priest.
I believe this expression revealed Henry's profoundly complex state of mind: having found something new to believe in and protect, yet confronted by his own faith.
Watching Henry and Hans move, I'd like to write down a few things I noticed.
Henry and Hans often stick out their lips.
I believe they are the only two who make this kind of movement. (I haven't seen all NPCs)
For Henry, it's more like a habit,
a gesture for dissatisfaction or hiding embarrassment, sometimes accompanied by a sigh-like exhalation.
But what about Hans?
He may be a troublemaker, but he is still a noble. If he had such a habit, I would expect it to have been corrected.
If that's the case, then whether consciously or unconsciously, I think Hans is quite influenced by Henry.
The scene after semine wedding, after the drunk man was kicked out
Henry sticks out his lips slightly and exhales as if taking a breath.
Hans saw it and pouted, then seemed to smile slightly.
āHmm, Henry, you kicked him out well,ā is the feeling?
The scene where he's introduced to Black BartoschĀ
Hans looks at Henry, Henry puckers his lips and nods,
and seeing that, Hans puckers his lips too.
Doesn't it look like he's mimicking Henry?
What makes these two scenes interesting is that Hans is moving in response to Henry.
The Sausage Scene
After Henry leaves to search for food, Hans watches him sadly, pouting his lips.
Personally, I felt this was a rather suggestive scene.
Of course, both men look dazed from hunger, struggling even to stand.
Yet the length of time they gaze at each other feels almost as if they might kiss at any moment.
This is unclear, but it's the scene where Hans recalls talmberg
It comes after Henry replies, ānow the boots on the other.ā
What makes this scene interesting is Henry's awareness of the soldier passing behind them.
He checks the soldier is approaching, speaks, then checks the soldier has passed before relaxing.
If the soldier hadn't been there, he might have casually replied to Hans, who approached cheerfully,
āAh, your noble buttocksā¦ā
But they are commanders now, conscious of those around them, needing to boost morale.
I think Henry deliberately chose to respond coolly.
Hans lets out a short sigh, seemingly disappointed by the answer.
Watching Henry in this scene, for some reason, I recalled Lord Radzig from KCD1.
The scene where Istvan speaks to Henry and moves his eyes.
I believe the process of deepening a connection involves not just clear words or actions, but also similar ways of thinking, synchronized movements, picked-up habits, and subtle behaviors.
These subtle movements are woven into Henry and Hans, making their emotions feel more real.
āI care about you, you know. Maybe more than you knowā¦ā
Interpretation of Psychological State
Opposing opinions, differing thoughts, dissatisfaction, suppressed emotions, awareness of the kiss
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