Exactly seven years ago today, I finished the first character design/illustration for a Yoshi's Cookie clone with monster girls. And now, after many delays, several of them being life-related issues, Master Cookie Crafters is now complete.
obsessed with how fixable society is, on a structural level.
obsessed with how all you need to do is throw money at public education and eliminate most standardized testing and you will start getting smarter, more engaged, kinder adults. obsessed with how giving people safe housing, reliable access to good food, and decent wages dramatically reduces drug overdoses and gun violence. obsessed with how much people actually want to get together and fix infrastructure, invent new ways of helping each other, and create global ways of living sustainably once you give them livable pay to do so. obsessed with how tracking diseases, developing medicines, and improving public health becomes so much easier when you just make healthcare free at point of use.
obsessed with how easy it all becomes, if we can just figure out how to wrench the wealth out of the hands of the hoarders.
We're not gonna talk about how long it took for me to get to this point in the framework's development since last time, and instead celebrate the progress I'm making!! Player menus, item management, treasure chests, a dynamic and scrollable map! There's still a ways to go, but I hope I can continue to make this real...
(y'know I only just now noticed that the horizontal scroll arrows for the map are off-center. whoopsie. but honestly there are bigger problems for future Madelyn.)
It's still FemLink Friday where I am!!!! This also doubles as art for pride month from me, which is a sweet bonus. Girl Link is forever important to me.
I've seen a bunch of really bad takes going around about internet safety, how parents/adults have a responsibility to shepherd everyone else's kids, and how it's all just "stranger danger" again when you don't want to give out personal information.
Stranger Danger from an 80s - 90s kid who lived it
We talked to strangers. We talked to a LOT of strangers. We just knew how to do it safely.
"Don't talk to strangers" was not about never talking to people you didn't know. It was largely about sussing out appropriate help. For instance when I was little, I was always told that if I got lost in a store, I should go to the front of the store, find the checkout counter or customer service desk and ask for help, NOT just walk up to some random person in the store. When I was older I was taught that if I felt unsafe while walking alone I should duck into a store and ask the employees there to call my mom (remember, no cell phones).
I was taught to be very wary of someone randomly coming up to me to offer food or gifts andnot to get in a car with someone I didn't know who offered a ride, which if you think about it if you've ever been in a major city is a good way to avoid a lot of scams, not just kidnapping. It helped me at various points in my childhood learn to avoid religious missionaries on the street (no, I do NOT want that Watchtower, no, I do NOT want to come into your church, thanks). I was also taught not to open the door of our apartment for strangers, which is again a good way to avoid religious proselytizers and salespeople, as well as anyone who possibly might be casing your home.
The idea was to a) have a plan to ask for help, b) develop some discernment on WHO to ask for help, c) have some awareness that every single person you met might not have your best interests at heart. All of those things are still really important to know. The phrase "I don't talk to strangers" was an easy way to convey "I don't know you and I do not have enough information to decide if you are someone I should talk to right now," not "every stranger is going to kidnap me."
Kids in the 1980s and 1990s when "stranger danger" was a thing had a hell of a lot more freedom to interact with strangers than kids now - many if not most of us went places alone, took mass transit alone, carried out errands, stayed out with our friends all day, were sometimes home alone, and knew how to handle that. A fair number of the friends I had in my childhood were other kids that I randomly started talking to at the park, or wandering my neighborhood - I talked to strangers and made friends, in other words.
That also translated to being online. There were a lot of message boards, forums and websites for various interests, and people could and did just show up there and start talking to others who shared those interests. Some friendships that have endured 20 years or longer for me started when we both were in a forum talking about a band we both liked, or a movie we'd seen. We talked to strangers. We talked to a LOT of strangers. We just knew how to do it safely.
Being anonymous online
"Oh, we used to know not to give out personal information online and now every site wants it!" is not a misguided "stranger danger save the kids from mean adults!" thing.
EVERYONE was told that. ADULTS were told that.
A lot of the desire for you to use your real name and personal information online is for marketing and database creation. They want to know your interests and online activity so they can develop a better marketing profile for you. Why the hell do you THINK every company now wants you to use their app and tie it to your phone number? That's all valuable, sellable data for data brokers and marketers. YOU are the commodity. That data is also now potentially being used for things like ICE.
Using your real name online has led to people being fired, being rejected from colleges, etc. for nothing more than, say, being photographed drinking beer at a party or identifying as LGBT+. It's been used to take away people's disability benefits because they posted a photo where they smiled (yes, literally, this has been used against people) or didn't "look sick." Yes, it has also been used to identify people on the other side, but there's a cost to that. When your entire life is public and you have no privacy, there's a cost.
There actually IS a higher level of risk disclosing personal information online than there is in person. In your personal life you're unlikely to have literally a million people calling you or showing up at your door to scream homophobic insults, for example. That shit can and does happen online because more people have access to you. Internet trolls are a thing, and we can't pretend they are not. Things like swatting happen. If you're under an anonymous name on a fan site, that likely will not translate to being targeted in real life. If you're using your real name, disclosing where you live, your school or employer and your daily schedule as you live stream, it's a hell of a lot more likely that will translate to people harassing you offline, and that's happened.
At the time we were being told to guard our personal information, there were a LOT of dedicated, moderated places for children and teens to gather online and interact with others. Geocities, a website where you could create a free little website for yourself, had a children's section. There were Club Penguin, Yahooligans, and a lot of other websites specifically for kids and teens.
There was also software like Net Nanny that parents could install on their home computers that blocked access to certain sites or keywords, meaning it WAS taken as parents' responsibility to keep their kids safe. At the same time, with things like cable television, you could block certain stations to prevent your kids from watching them.
People did talk about themselves. People had websites about themselves and their likes, they wrote about their day on Livejournal or reviews movies they liked on whatever website existed for that. They interacted. The difference was that every single thing they did, every single place they went, every financial transaction, was not posted for the world.
Adults online do have a responsibility, in my opinion, to label and warn - tags and ratings on fanfiction; NSFW warnings on images; notices about flashing lights; etc. but again that is for everyone, not just kids. That 60 year old may not want to get fired because a nude image randomly popped up on an otherwise innocuous feed. That college student may not want to be triggered reading a fanfic about a topic they really need to avoid.
That does not mean there is not responsibility on the parents' end about their children. Maybe, just maybe, your six year old does not fucking need a cell phone with open access to the internet and social media. Maybe we should not be encouraging young people to put their entire lives online with no privacy, no room to make mistakes, and a drive for likes and favorites instead of actual engagement with others. That shit is a hell of a lot more toxic than "stranger danger" ever could be.
Had so many thoughts about this one that I had to post about it Somewhere and this is the only place I have to do longform stuff. Hi.
Unsurprisingly, huge DR spoilers below.
In storytelling, the possibility space is the yet-unwritten or unread parts of the story, the things that are implied but not fully stated, the space where the audience fills in the gaps with theorizing and wild mass guessing. As every story goes on, the possibility space becomes more and more constrained; if you want to end a story, you have to answer questions and cut off the branches. The moment one word is written on the page, the possibility space begins to shrink, if only in the sense of "the next word has to follow from the previous in a way that is grammatically correct".
I've read books, watched shows, and played games that set themselves up with incredibly open possibility spaces. Fertile ground for theories, implications of things happening behind the curtain, dazzling conspiracies, and a possibility space with endless promise. And for some of those stories, the single ending they eventually narrowed to left me unsatisfied and mourning lost potential. When a story starts, it could end in an infinite number of ways, but when it's over, there's only one ending.
For the stories that disappointed me, the drop off usually seemed to start around the halfway point. It's where the story stops introducing new characters, focuses in on the important ones, and pinpoints the key plotlines. By the start of the final act, almost every story has already narrowed to one conclusion; all that's left is to see it through.
For simplicity's sake, let's say the ending of a story really begins around... 5/7ths of the way through.
WE LIKE MIKE
Every chapter of Deltarune hides a secret(or not-so-secret), optional, and extremely hard extra boss. In classic RPG fashion, beating these bosses grants you powerful and unique equipment, but even more tantalizingly, gives you little breadcrumbs of capital-L Lore™️that point to a wider myth arc, deeper mysteries, and characters manipulating events behind the scenes. For a fanbase where a large portion migrated there from a separate but similarly conspiracy-obsessed fandom (more on that later), these secret bosses are the real draw of Deltarune. They're simultaneously proof of being a god gamer who could surmount the biggest challenge the game had and induction to a secret club of players who know the "real lore" of the game. When new chapters drop, you'll probably focus as much on figuring out how to get the secret boss as you will the main story.
The extra boss of Chapter 4 is one of my favorites, but beyond that fight, there's another, even more extra boss (a phantasm boss, even. IYKYK). After beating the main boss of the chapter, a door with the name MIKE on it unlocks, and Kris gets to go in alone. MIKE is a name that first showed up around the extra boss of Chapter 2, with hints that whoever MIKE was, they might be extremely relevant to the myth arc going forward.
The MIKE behind the door turns out to be three guys who are filling in for the real(?) MIKE; they don't know who MIKE is, are obsessed with trying to figure out who MIKE is and what he means to Tenna (the main boss of the previous chapter), and have assembled a pin-and-string conspiracy board trying to figure it all out. The fight itself is a fun little gimmick battle that fully changes depending on whether you're playing on certain consoles or PC, isn't impossibly difficult, and is an obvious joke about/tip of the hat to the rabid fan theorists. When you inspect the pinboard after the three MIKES leave, the narratorial voice says "You don't really like looking at this sort of thing."
After Chapter 2 came out a few years prior, I made exactly that kind of pin-and-string conspiracy board with some friends. So I thought the scene was hilarious.
Behold, pepe_silvia.pdf
To play both sides of the field for a moment, fan theorizing is fun. When a story places a bunch of puzzle pieces in front of you (and Deltarune certainly does) it's a natural instinct to try and fit them together. It encourages community; ask someone else what they thought this or that line meant, and maybe they'll have an insight that you never would've gleaned. When the possibility space is wide open before you, you feel encouraged to run around in it and turn over every potential stone and map out all the possible paths forward.
The problem comes when that possibility space starts to run out.
ENDINGS OF ONE SORT OR ANOTHER
Permit me a couple of semi-personal tangents before we get around to talking about Chapter 5. I promise they're relevant.
Kinda unsurprisingly, Stephen King has been one of my favorite authors for most of my life. The guy can write, this is known. Out of the many, many books he’s written and will continue writing until the second he dies, my favorite is far and away The Dark Tower series. I read the series through high school into college, and of the seven books, the final one holds a pretty special place in my heart, and the ending most of all.
To make an extremely long fantasy epic short, after a long journey, series protagonist Roland Deschain reaches the Dark Tower he’s spent the entire series striving for. He enters, the doors shut behind him, and the story’s camera pans away. “Here the darkness hides him from my storyteller’s eye and he must go on alone,” as the book says. There’s a brief epilogue where Susannah, one of Roland’s companions who earlier on quietly and voluntarily exited the story to another world, arrives in a parallel version of New York City and meets a parallel version of her late lover, Eddie, and another one of their companions, Jake. The final lines of the epilogue have always stuck with me;
“And will I tell you that these three lived happily ever after? I will not, for no one ever does. But there was happiness. And they did live… …That’s all. That’s enough. Say thankya.”
It’s a beautiful, soft, touching ending that sees Roland’s dear companions reunited, in a fashion, and being allowed by the story to live out their days in peace.
There’s a little more after this ending, however.
Following the epilogue is a chapter called “Coda” that opens with the authorial voice speaking to the reader; telling them to be satisfied with this ending, to not want to follow Roland into the Dark Tower they’ve spent seven books searching for, to be happy with this small happiness and a bit of ambiguity.
“I hope you came to hear this tale, and not just munch your way through the pages to the ending. For an ending, you only have to turn to the last page and see what is writ upon… …What’s behind it won’t improve your love life, grow hair on your bald spot, or add five years to your natural span (not even five minutes). There is no such thing as a happy ending. I never met a single one to equal “Once upon a time.””
But in the end, the authorial voice relents, and we follow Roland to the top of the tower. When he reaches the top, he’s pulled through a door marked with his name, and the series starts over again at the beginning, seven books ago; “The man in black fled across the desert, and the gunslinger followed.”
I loved this ending, too. To me, it felt wholly natural, like the only way the series could’ve ever ended. It wasn’t until a long time later that I learned the reaction to this ending from the broader Stephen King fandom at the time was almost entirely negative.
Speaking of negative fandom reaction to endings, Homestuck.
Love her or hate her, you watched. It was all you could do.
For basically my entire teenage years and a little into college, I was deep in the Homestuck mines. I wasn’t reading at the very start, but I was there for the vast majority of it. I was on Tumblr the whole time, right on the front lines of the fandom, the fan theories, and the discourse. To say it defined my teenage years wouldn’t be inaccurate.
By the ending in 2016, however, I felt I’d mostly moved on. I was there to watch Act 7 drop, and I let that be the end for me. It felt as satisfying as it could have for a weird, scattershot webcomic that went through multiple massive hiatuses and obvious swings in planning and concept. It arguably defined modern fandom while still being fairly niche and obscure; Homestuck truly did make this world.
Anyway, I let that book close, and moved on.
A lot of people hated this ending, too. It would be considerably more trouble than it’s worth to fully explain the ending of Homestuck in detail, so to summarize; some fans were mad their favorite character wasn’t relevant in the ending, some fans thought it was a wet fart of a finale that unceremoniously declared the story over, the moments weren’t hype enough, the aura wasn’t strong enough, and worst/best of all? Vriska was there.
The fan theorizing around Homestuck was constant, and it was only made more intense by the multiple months-long or even year-long hiatuses leaving fans grasping for anything to talk about with their favorite hyperfixation. It didn’t help that the comic itself leaned into this: the number 413 (the date the comic started) is some sort of significant in the story, and it was evaluated and cross-referenced with enough outside material to make Nostradamus scholars blush.
In the end, most of it didn’t matter. The symbolism, the numerology, the endless theorizing about which character out of dozens would be the key to understanding the story; it ended with a few short, flashy animations that wrapped up the central conflicts and that was that. Some fans moved on, some didn’t, the lone and level sands stretched far away.
For our purposes, the most important thing about Homestuck is that one major contributor to the project was a guy named Toby Fox, who composed a lot of music for the series’ iconic flash animations. If you’re reading this, you might have heard of him. Undertale was released about a year before Homestuck came to its conclusion, and in one of the many hiatuses in that timeframe, a huge fandom migration from the latter to the former occurred (including me!). Undertale owes a pretty significant amount of its early popularity to this cross-pollination, with longtime Homestuck fans forming an early base for the new fandom.
And part of me can’t help thinking Toby saw all the fandom reactions to Homestuck, especially the ending, and remembered.
Okay, we can finally get around to talking about the thing I said I was going to talk about: Deltarune Chapter 5!
DELTARUNE CHAPTER 5
Toby, that’s scary.
The experience of playing Chapter 5 as a “normal” fan of the series vs. as someone even passingly aware of the fan theorizing space is really weird. Despite not being extremely deep in the fan theory mines for a while, I have enough of a passing familiarity with what’s going on in there that playing Chapter 5 felt like watching someone read a phrasebook of sleeper cell activation phrases. However, they were reading it in a way that suggested they were also doing a standup comedy routine. Just, y’know, in a Manchurian Candidate-sorta way.
Right from the jump, there’s an extremely unserious optional boss right in Castle Town versus Nubert (SSJ Forme), Trashy, and Ball. The fight isn’t a pushover, but it’s not extra boss level either. The soundtrack is called “Inappropriate Recycling”, and, as the name suggests, it jokingly remixes the leitmotif used in each one of the extra bosses up to this chapter. This gets explicitly called out when the three “MIKES” from the previous chapter show up at the end of the fight and turn the fight into a cartoon cloud-of-dust brawl. “I THOUGHT I heard someone misusing the BATTAT motif!”
The unserious references to hidden content in past games and prominent fan theories keep coming through the whole chapter. Here’s an incomplete collection of phrases that are completely innocuous unless you are touched by a kind of madness: eggs, justice, speaking in hands, Omega, all yummies. If none of that made sense to you, that means you’re a normal person who engages with things in a normal way.
But never mind all that. We’ve got an extra boss to find, and every crumb along the way seems to indicate this chapter’s boss is going to be a big one. Seam, the shopkeeper of your Castle Town, calls this one out as being the final extra boss. When you get to the Dark World of this chapter, you’re greeted with a character that’s explicitly modeled off Flowey, one of the final bosses of Undertale. Like most extra bosses, the first direct signposts towards them are dropped at the shop right at the game’s midpoint, with a strange key only available for purchase if you collect pink coins scattered around the world. To actually get to the boss proper, you need to go almost all the way to the end of the game, where a large pink door is hidden slightly off the main path. Foxes seem to be significant. There’s a lot of buildup!
Anyway, the extra boss is an anime catgirl.
✌️
The fight, while definitely up to the difficulty standards of the other extra bosses, is a complete joke in terms of tone. Pink is a fight where you flirt with her to build up her DOKI meter and try to get her to be honest with her feelings…which unfortunately leads to her body and soul being separated and her throwing copious amounts of bombs at you in the middle of dating sim. Her body wants to flirt with you while her soul hates you. Ralsei turns into a marketable plushie again. I think Hatsune Miku is on the track. It’s a lot.
After the fight, Pink gives you a Shadow Crystal (the plot reward for beating each extra boss) and leaves. No explanation for why she has that, no plot breadcrumbs, no link to the rest of the bosses, just hands it over and exits stage right.
My initial reaction to the fight was, understandably, shock. We’re doing this? This is the big extra boss? The last one? The one we’ve been building up to? This?….Okay, I guess we’re doing this now.
But after actually completing the fight(which, purely from a gameplay perspective, I think has a LOT of design flaws that don’t mesh well, it’s set up as a gimmick fight you’re expected to clear easily which is common in these games but the damage is scaled like a superboss that kills you in four hits and every time you reset you do the same exact inputs on the menu and click through a lot of obligatory dialogue and every reset drains your will to keep going because you have to do the SAME THING over and over and it doesn’t feel like you’re getting better at the parts that actually killed you and the BOMBS god damn it the BOMBS they do so much DAMAGE and the screen shakes SO MUCH that you can’t see where they’re GOING and AAAAAAAAAAAAAGH), I started to like what it was doing more and more.
Treasure this world, won’t you?
There’s a lot of things going on in the fight. I was delighted to finish it, finally get to talk to people about it, and find almost all different takes from different people about what the fight was doing in a narrative sense. Pink is a trans allegory. She’s an allegory for Kris and the player character. She’s about BPD and plurality. She’s doing a lot.
But out of all of it, I found myself focusing mostly on what her place in the story is - or more precisely, the place she was expected to have. She’s not just the chapter’s extra boss; she’s explicitly stated to be the last extra boss in the game. It’s one of a million signposts that wherever the story of Deltarune is heading, it’s almost over. And instead of one final, climactic boss that places the last few story tidbits we need into our hands, she’s a silly gimmick fight that’s also a huge homage to Tokimeki Memorial. And the more I thought about her, and put it together with other things the game and Toby himself have said, the more I felt that she was exactly what the game needed at this exact moment.
Once you’ve beaten Pink, you can return to the shop at the midpoint of the game where you first unknowingly met her. She doesn’t have a lot of new dialogue, and none of it is the Lore™ most extra bosses leave behind, but what she does have made the pieces fall into place for me.
“I guess…I’ll be ‘graduating’ from here soon.”
“I… I’m not just ready to leave my friends behind yet…”
“But, is that something… anyone is ever ready for?”
When you leave, she bids you farewell with the line that stuck in my head and refused to get out.
In the Deltarune newsletter on the eve of Chapter 5’s release, Toby described the chapter like this:
“Let’s turn around and watch the sun, before it goes down completely.
Let’s smile again.
Let’s have one more fun adventure, okay?”
It’s exactly because Pink is completely disconnected from the Lore the game has built up; exactly because she’s a goofy, unserious character; and exactly because she’s a character who’s going to stick around as this Dark World fades along with all its inhabitants that she’s the perfect extra boss to send Deltarune into its closing act.
Deltarune is a game that constantly drops little breadcrumbs of lore and encourages you to play it in weird, idiosyncratic ways just to see all the little secrets and hidden things. Sometimes it’s as simple as dropping an NPC behind you after a plot beat to give you some funny dialogue if you backtrack. Sometimes it’s hints to a whole greater-scope mystery that cast the events of the game in a different light. Sometimes it’s [screaming, sobbing, wailing and gnashing of teeth in the dark void where none can help you and you’re trapped of your own volition as punishment for your misdeeds], or as everyone else calls it, the Weird Route. But for the whole game, Deltarune clearly wants you to pay attention.
But, you also don’t have to, and the game doesn’t want you to.
Like I said earlier, part of me thinks Toby remembers the fan reaction to the ending of Homestuck, an eight-year webcomic with a massive fan theory industrial complex and an ending that left a huge portion of the fanbase unsatisfied. Now, as Deltarune might be on track to finish on its tenth anniversary (christ I hate the passage of time) and has grown an even more massive fan theory industrial complex, Chapter 5 takes on the feeling of trying to ease the audience into an ending. Not necessarily a specific ending, but just “an ending” in general.
Let’s have one more fun adventure, okay?
The pitfall of fan theory is getting too attached. You start thinking everything is evidence, everything is pointing towards your theory. You become certain you know where the story is going. You’ve solved this one. You’re going to get a good grade in playing this video game/reading this book/watching this series, something which is both reasonable to want and possible to achieve.
It’s a mindset with no winning outcome. Your theory is wrong? You’re unsatisfied and think the story should’ve gone differently. Your theory is right? The fun of being surprised is stolen from you because the story, to you at least, becomes predictable. At its worst, theorizing can turn a narrative into a math problem.
Enter Pink, a silly, out-of-place extra boss who doesn’t do the thing she’s “supposed to” in the story. No lore, no ‘freedom’, no air crackling, just a silly, fun, and a little bit heartfelt character. She feels like she’s offering an offramp for the theorists, a way to ease the audience into the gradual closing of the possibility space. Right before we go to the climax, let’s do a silly one. Just as a last reminder that this is all for fun, to some degree.
To be continued in Chapter 6
Alright, so, big ending take time, if I even have one.
After finishing Pink’s fight, I could feel Toby Fox putting his hand on my shoulder and saying “Hey, I know I’ve put a lot of puzzle pieces around for you to play with, but the story is going to end soon. If the picture these pieces make isn’t the one you thought they were going to make, I hope you’ll still enjoy the ride anyway. If they don’t make a picture at ALL, I hope you still enjoyed playing with them. A lot of people put a lot of effort into this whole thing, and I hope you come away satisfied for sticking around, and not just for whatever the ending in and of itself was.”
I feel a lot of echoes of The Dark Tower, where King’s authorial voice sighs and tells you he only wrote this specific part of the ending because it was expected of him, and that the journey was the point, not the destination. I remember watching Act 7 of Homestuck on my crappy Lenovo laptop in my college dorm, feeling relief as a chapter of my life closed and a sort of gratitude for the story that shaped my teenage years, for better or worse.
As the possibility space of the story begins to close in around its characters, more than in almost any other story I’ve read, I feel ready for it to happen in Deltarune. It’s almost there. I want to see how it ends, regardless of whether I’m ‘right’ or not with the few theories rattling around in my head. It’s been a great ride.
Good hecking post, OP. Hope you don't mind me adding some stream-of-conscious additions to it.
Among other things, I felt the exact same way about how the chapter feels like a comedic Manchurian Agent. Sans asks Susie to draw herself and her friends on a little slip of paper, and my immediate thought was "That's bait. That's to get theorists to react."
But that aside, the main thought I had coming out of Chapter 5 that dovetails with your post (as well as the statement "Let's have one more fun adventure, okay?") is something said in the last ten-to-thirty minutes of the game, pending an individual player's penchance for fucking around. Flowery, the character very intentionally designed and named to evoke Undertale's Flowey and the main antagonist of the chapter, has been defeated. He and Asgore stand before the Dark Fountain, waiting for Kris to seal it. If you talk to Flowery a couple times at this point, he says the following:
"We had our nostalgia. It's time to move on."
In addition to being full of nods, teases, and jokes at the expense of major fan theories, Chapter 5 is full of callbacks to both Undertale and Deltarune. A recurring NPC can give you a slip of paper hinting to a not-commonly-known Easter Egg on Undertale's title screen (B-A-L-L). Ralsei gets his hat back for a little while, and he points out several things in the Dark World's first major area that double as callbacks to Chapter 1. We have the six other Flowers, who are all overt references to the other SOULs and attacks used in the Photoshop Flowey fight from Undertale. Jokes are made about recurring musical motifs. Asgore shows up in kingly armor and his Undertale boss theme comes back. Susie and Ralsei go into the Big Pink Door as excited to meet the secret boss as the player ("I bet it's a new friend!" "I bet they're strong!" "I bet they have a really memorable theme!"). There's the fact that Pink herself was a secret boss exclusive to the Switch version of Undertale, and a couple of her attacks visually reference that fight.
And at the end of the chapter, we're told "We had our nostalgia. It's time to move on."
Chapter 5 marks the end of several recurring elements in Deltarune. The last Shadow Crystal boss. The last appearance of the Forgotten Man and his eggs. The final Starwalker. The Festival that's been built up for multiple chapters begins and ends. Susie and Noelle confess their feelings to each other. Asgore finally understands that it was his bad choices and obsessions that led to his life being where it is. And once back in the Light World, Susie tells Kris that the two of them can't treat the Dark World as fun adventures only for them anymore.
I think Chapter 6 is going to be very different. I think it's not gonna have nearly as much silliness. It's not going to follow the format of the previous five chapters. It's not going to be like, or even necessarily connect to Undertale. It's going to come into its own, and put its overarching narrative and themes up in the forefront. It's going to be the culmination of what Toby Fox has worked towards for over ten years, regardless of what any of the fans want, think, or like.
And we need to be ready for that.
(for my money, I've ultimately decided that speculation is fun, but at the end of the day all we can do is wait to see where the story goes.)
(that said, I do have one pet theory, that Ralsei is the video game Deltarune itself, but that's such a wild shot in the dark backed by some very circumstantial evidence, that I'll be more shocked if it turns out to be right)
It's also interesting how you bring up Mike. I wasn't one of the people that got focused on the question of "who is Mike," because it's a name that gets brought up in a way that's one part nonsensical, one part weird. So I had zero expectations of who or what Mike was, going into Chapter 3 or 4.
It was really funny to me how, at the end of the Mike fight, there's still not a satisfactory answer. The game makes a playful jab at theorists, then gives a complete non-answer of Mike's true identity. "If we're not Mike, then who is Mike?!" one of them asks. "Maybe it's always been us? Maybe we're Mike?" responds another, leaving the first to sputter about how that makes no ontological sense. Then you find in a dark corner of the room the inexplicable appearance of a giant photorealistic microphone that never gets seen or mentioned again. In the end, you're left to do optional minigames that arbitrarily let you "decide" who Mike is based on which has the highest score (with the joke that one game is significantly easier than the other two to get a score into the tens of thousands).
It made me wonder if there was ever a plan to do anything with "Mike" in the first place. If the name, on its own, was thrown in on a whim. Sure, there was plenty of foreshadowing and buildup to Tenna's appearance in the next chapter surrounding it, but Mike's namedrop just seemed like another nonsequitur in the pile of everything else that made Spamton unsettling. But fans speculated so much about who or what Mike was, that the official response ended up being "I have the opportunity to do something really funny here."
Anyway, that ended up being a huge tangent.
This post's discussions about fandom also makes me think about some of my own experiences with Puyo Puyo as a fandom (since it's arguably the first I Really felt a part of). Bear with me, since I beared with OP on Homestuck and Stephen King. It's been a bit of a roller coaster, being around an English-speaking community that's been trying to grasp at straws understanding something with thirty years of media exclusively in Japanese, and finally having our myths and misconceptions about the wider franchise dispelled as more people (who actually knew Japanese) looked into the media itself, and didn't just rely on hearsay.
But it's not just us Western fans that have thoughts about this franchise. There are an untold number of fans of Puyo Puyo in Japan that have lived and loved it for far longer than any of us had, for a bigger proportion of their lives than mine. Who have their own perspective of what it means to have the possibility space narrowed.
Puyo Puyo, of course, is a corporate franchise owned by Sega, and as major corporations are wont to do, Sega wants to keep Puyo Puyo going forever as a perpetual money-making device. For significant stretches of the franchise's history, including before Sega owned it, there was no interest in pushing the story and characters further, even as the seeds were planted for some interesting character arcs and concepts. Puyo Puyo has been in a stasis for decades where previously-established plot points were at best tangentially brought up, and character development has been crawling inches at a time, if at all. It's an unfortunate reality that I and several of my friends have been quite frustrated with off-and-on over the past few years.
So when the most recent Puyo Puyo game came out and showed the signs of a twenty-year old subplot-- that of Sig and his demonic heritage-- finally starting to move again, we were excited. Finally, we were learning more about this! Finally things that were only ever brought up in supplementary material was being addressed! I know at least some of us, myself included, weren't even bothered that the game completely overturned our theories surrounding Sig and his fragmented soul from a previous incarnation, because it was outweighed by the fact that the wheels were finally, finally, finally starting to turn, even if a little bit.
And yet, not everyone following Puyo Puyo was happy about it. Shortly after Puzzle Pop's story was complete, I was relayed an anecdote of a Japanese fanartist, who was satisfied with holding onto their personal headcanons. That the plot had started moving meant that those headcanons were now at risk of being deconfirmed, which upset them. They had been quietly hoping that there never would be any answers, because then they and their friends could keep their headcanons.
I guess, to bring this back to Deltarune, it's why Susie said what she does in Chapter 4. "It's just better if stuff just… goes on forever, right?"
But Deltarune was never something that was made to last forever. It started with the idea of what its ultimate ending is and will be. And no amount of theorizing or headcanons can change what it is. And we're rapidly getting closer and closer to the end.
During the Undertale Tenth Anniversary Stream (goddamn how has it been so long already, I was in my last semester of college when it came out, for pity's sake), Toby Fox very explicitly left the door open for as much possibility space for the game as fans wanted to seek out, saying "The Underground is as big as you want it to be."
Maybe the same will be true when Deltarune is complete. But maybe it won't.
Ultimately, Chapter 5 is what the newsletter said it was, "one more fun adventure," full of references and injokes and fandom nods, before everything changes. Before the possibility space begins to diminish to its most narrow. Before the real answers start. One more fun adventure to help us collectively reflect on what we've experienced and felt and created in the past, and celebrates the beauty that was there.
Cherish those thoughts, feelings, theories, fanwork, and overt silliness. Cherish this world of Deltarune as it exists now, one last time.
It's still FemLink Friday where I am!!!! This also doubles as art for pride month from me, which is a sweet bonus. Girl Link is forever important to me.
genuinely sorry to have to keep posting stuff like this, i hate doing this enough as it is, but. because of some sudden bills regarding my roommate's medical incident at the start of the month, we are now $160 short on rent for this month. found out about that half an hour ago. that and he isnt being allowed to work for another month so we need some way to scrounge up that rent. overall this is about $910.
im clairebear1093 on paypal and cashapp, and clairebear1018 on venmo, which im tentatively putting down since it seems to allow you to skip putting in the phone number now. venmo is preferred as it's how i pay rent, but i can navigate.
“scientists don’t want you know” is a phrase that always cracks me up because if you actually meet a scientist they will be shaking and crying like an overstimulated chihuahua with the need to let you know
Madelyn Himegami @madelynhimegami - Tumblr Blog | Tumgag