Life is Strange is set in 2013
Chloe mentions that "wowsers" is bazinga-adjacent and Max immediately swears to never say it again

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@thekn0wer
Life is Strange is set in 2013
Chloe mentions that "wowsers" is bazinga-adjacent and Max immediately swears to never say it again
separate from the rest, where I like you the best
Life Is Strange And I Don't Think Max Likes That
IMO there's an overabundance of infantilizing characters by making them too innocently sweet, making them wanting to be patted on the head, making them yearn for a sugary life without challenge or intrigue that mirrors nothing of their canon experiences, etc. It rubs me the wrong way. The 50 year old doctors on the Pitt are not blushing wallflowers having childish and insecure crushes on each other; I promise you.
that being said, Max Caulfield is like the one time where it works. Like, hello internet fan psychos, this your opportunity- the opportunity- to baselessly ruminate about a worthy yet timid character who really does not want to join the Time-Space Marvel Avengers and do this shit again.
Her main ambition is to get kissed on the forehead by her blue-haired girlfriend. Zero percent of her strikes me as "i would love to risk my life in more terrifying adventures for the pure excitement of it all. Let's do this again sometime." this is the ur-example of a Tumblr-targeted protagonist, a competent individual who still very much wants to get back to wearing soft sweaters and having their partner take care of them. what more do you people want. they custom-built this shit for you.
We Must Imagine Pricefield Happy
The breakup between Max Caulfield and Chloe Price established in Life is Strange: Double Exposure was-- well, let's back up here. Some would argue that the relationship, built on only a week's worth of insane teenage events after half a decade's worth of separation, was the exact type of overly passionate youthful folly that never lasts. People change a lot in those early years, they could easily grow apart.
And that's true- for real people. The thing about codependency is that fully-fleshed out human beings eventually hit a friction point with their codependent partner: they simply cannot sand themselves down into the perfect puzzle piece to keep the deeply emotional and close connection afloat. It turns out even the most agreeable, passive, submissive person is usually not interested in focusing 24/7 365 on molding themselves in this way for the rest of their life. But Max and Chloe are not real people. Life is Strange is a beloved series, but it's not the deepest character study- I don't think anyone could establish a case that it's overly detailed on the mundane but human idiosyncrasies that its characters would exhibit in the endless days and years that make up their lives (or at least, the ones that Max and Chloe would have that would make them less-than-ideal long term partners). It's a short game about a very short timeframe, and even with Max's journal entries, there's simply so much "realistic fidelity" of every character that never gets a moment in the spotlight. It's not quite Riverdale's "highs and lows of high school football," but this is still clearly a series aimed at a younger demographic, more concerned with conveying emotion than absolute verisimilitude.
In other words, Max and Chloe don't need to sand themselves down to fit together because they were built from the ground up with just enough detail to connect. You CAN imagine them as infinitely happy after the credits roll, because they don't have enough bumps and dead ends to stop the rolling. In order for a breakup to happen in Double Exposure, whether onscreen or in the murky depths of "between games," you'd need to define their puzzle pieces MORE, so that only then could the lack of fit create conflict.
But that definition never happens. It would have been less of a problem if the relationship was a disaster in the first game. For example, it might have been underwhelming, but no one would have been surprised by a throwaway line that Chloe was still estranged from her stepfather being the only reference to him ever again. But for Pricefield? By the time they reunite in Life is Strange: Reunion, the question on everyone's mind is- why would these people ever break up? They're insecure because they love each other so much?
There COULD have been a solid case for a separation, if the characters had been given defined edges, more points of incompatibility, but the work wasn't done: Max and Chloe's more "boring, everyday" (relationship) flaws are still just as nebulous as ever. They're still mostly cute dolls for the player to smush together- so it's weird to say those dolls abandoned their most emotionally entwined connection. Much ink has been spilled about how French adults trying to write quirky American teens created weird plot inconsistencies and strange characterization- and Max and Chloe''s relationship is often the prime victim of this-, but the game often gets away with it because that uncanny valley also enhanced its Lynchian mystery. And, despite its occasionally polished weirdness, the game IS dark and revealing when it wants to be, which highlights how if it had something sad or "realistic" to say about the Pricefield bond crumbling postgame, it would have. The later games have all the same awkward dialogue and characters that just don't quite feel like they could be the exact same way in real life, but they don't succeed in establishing the same -perhaps unintentional- surreal darkness that obscures that issue. Because of this, a Pricefield breakup in the less eventful sequels reads like a breakup from Mickey and Minnie Mouse- you're just like, "does this cutesy cartoon think this bond ever had the realistic adult friction needed for a painful separation to happen in the first place?" Yes, Life is Strange explores life and pain more deeply than a children's program about a talking mouse, but the authenticity of Pricefield is not one of those places. Pricefield was established as a two-piece jigsaw puzzle and then ten years later, someone was like, "eh, sometimes toys break." Uh yeah, but usually not this particular one- it feels pretty vital to explain how this arrangement no longer lines up. This toy was specifically made to preempt the eventual breakdown of so many real-life examples of young love, so that the two women would always walk together. "JK the emotional reality of the Life is Strange universe is now retroactively our own" just doesn't work when none of these characters could have existed in the same way in the real world to begin with.
Ending the Life is Strange TV Series
The main question about the upcoming Life is Strange television show is how it will deal with the game's multiple endings. The trend seems to be choosing some sort of multiverse bullshit, but that's always terrible.
Instead, I have concocted an "everyone wins" wish-fulfillment ending that, if produced, I will pretend to hate as a Defender Of Plots With Stakes And Consequences, but that I will secretly love. You just can't tell anybody:
Max chooses to save Chloe, dooming Arcadia Bay. However, they concoct a plan to use everything that Chloe gets criticized for to save the people of the town. (Hooliganism, disobedience, etc.) Through hijinks, misdirection, and having an angry mob chase her, Chloe is able to lead the townsfolk away from the storm, thus thematically finally being rewarded for all the things she's been told are bad about herself, and showing everyone they misjudged Chloe all along, that she deserves respect. The show ends with Chloe experiencing a crowd of people all happy that she exists. It fades out to reveal it's a framed Polaroid. Now, again, I'm going to have to pretend to hate it because it wraps things up too neatly. But you'll know better.
Life is Strange: (Lack of) Identity Crisis
obv you can reimagine you want; this just my read on canon. Max "is" like normcore sweatshirt nerdvibes and Chloe "is" soft punk masc- but really they're also none of those things, they're kids in 2013 who are mostly concerned with the central question of fitting in- Max is hiding from it, Chloe is rebelling against it-- but IMO neither of them are building or presenting internal identities from their external presentations.
Basically, even if they present in ways that some people think are more-androgynous than not, I don't think they see it as non-feminine.
Ex: Chloe doesn't have short hair because she's flaunting how gay she is, she's fed up with society as a whole, not just its specific mistreatment or erasure of lesbians. She's borrowing from the punk-rock-aesthetic tradition that flowed through the likes of Avril Lavigne, Hayley Williams, and countless other women; she'd dress exactly the same if she were straight, her hair would be just as blue. I don't think she's trying to signal a "butch" or "masc" identity.
Similarly, Max isn't more comfortable in her t-shirt and jeans because she's purposefully rejecting femininity- I don't even think anyone would have thought of those as mutually exclusive. She's just being a girl in jeans who doesn't care much for skirts and the attention they'd bring- it's not much of a rebellion. If anything, by hiding in the clothes she's always known, she's attempting to avoid being perceived, not presenting an identity of ambiguity.
Chloe's look is "you're not the boss of me" and Max's is "I am not here," and I don't think that binds to them to any other statement. I mean, they could be, many people of many different identities dress many different ways, and I'm sure there are people who look like them who are trying to express something more than they are, but I think these particular characters can just be gay girls who don't see wearing jeans as violating their own self-image of womanhood.
I don't think they're butchfemme or butchbutch or andromasc or whatever but I also don't think they have labels they'd use to replace those-I think they see themselves as girls who don't even need additional labels outside of the time travel and Chloe's not-so-secret desire to commit hilarious crimes.
Life is strange is obviously very important to me but I have to admit that there are certain things about it just rub me the wrong way, more so now than when I first played it.
Like the way that David, Nathan and Frank are written just plain piss me off. The game wants me to see them as deeply complex characters that I should have sympathy for but fails to engage in what the actual effects of the characters actions have on the women/girls around them.
The amount of sympathy for these three just… blows me away honestly. I’m not saying there shouldn’t be any sympathy for them but it’s practically shoved down my throat that I should feel bad for them and that they ‘contain multitudes’ while barely even acknowledging the out reaching consequences of what they’ve done.
For example; David has hit Chloe and this is a canon fact. The reactions of everyone involved if Max doesn’t take the blame in episode one make it clear that it isn’t the first time David has hit her. Yet— does the game truly do anything with this? No. It’s barely acknowledged and Max doesn’t seem to let it have a single bit of weight in her decisions about David. In the end the game insists David has always cared about Chloe, never mind the hitting her part. He is just going about it wrong! Isn’t that sad :( he loves her, he just has been emotionally and physically abusive for years because he has trauma :( oh and don’t forget that the game, as seen by comments made by Joyce, seems to want me to think Chloe is also responsible for that abuse because she is being ‘aggressive’
And it’s not just David, Nathan and Frank get the same treatment.
If I had to pick what annoyed me the most about the over all writing of LiS it would be that. The way that it seems to insist that in order to have complex characters that you must feel so much sympathy for them that you feel compelled to forgive them for their actions (because it doesn’t engage with their actions fully) 
I mean. I could have summarized this as the game just having sexist writing.
Because that’s honestly what it is. The game just plain doesn’t place weight on the men’s actions sometimes. Yes, Kate’s despair has the appropriate weight but the emphasis is placed more on Victoria’s bullying and not that Nathan was directly responsible for the video, drugging her even after he ‘accidentally’ killed Rachel Amber which makes him incredibly unsympathetic. The fact that Nathan was clearly starting to act on his own, with no prompting by Jefferson, goes unmarked by anyone because the game almost completely stops caring that Nathan drugged Chloe and took her picture in his own fucking bedroom. 
Never mind all that; Nathan has mental health issues :( oh look, you let Warren beat him up , doesn’t he look pathetic :( and oh you should feel sad, Nathan felt guilty, I promise :( 
But don’t worry, Rachel Amber totally seduced Frank and then dropped him when he showed his true colors, but do feel bad for him :( he loves her :(
blahhhhhhh 
life is strange is odd in many ways- one thing that always struck me as bizarre was the fighting, like the actual physical altercations between young men in this game. There's very little thought or consequence put into them by any of the characters.
I've known Nathans and Warrens- neither of them would have had the courage or physicality to kick the shit out of the other for more than a brief moment. In addition, especially in the upper-middle-class vibe of Blackwell, there's just so much "no hitting" in the atmosphere in the air that would have been drilled into both of them since a very early age- cranky shoving would be the most either would dare risk on a matter that wasn't life-or-death. In the game, Nathan and Warren hit each other and then the girls run off and then the camera moves away, taking the story with it. But the thing is, all that punching and bruising would be like, a major event at a place like Blackwell. Administrators would find out, parents would find out, it wouldn't just be something that would go unforgotten. There'd be major repercussions, it would be at the front of both participants minds' for the rest of the school year. Other people would be gossiping about it constantly as well. Violating the taboo on actual damaging violence is shocking to rich kids at a nice public school, much less a private academy. And even if they did "get away with it," knocking someone to the ground and pummeling them (or being the one getting knocked down) would be like a marquee breaking news headline that would fill them with shame/anxiety for months, whether from the embarrassment of losing or the looming possibility that they would get in trouble for it. It would be THE thing they were focused on. It's simply not a forgettable everyday occurrence for a spoiled non-bulky kid like Nathan or a timid dork with weak sexual creepiness like Warren to get into a full-on brawl. Like, if Warren had it in him to fight, he'd probably not be so timid about his awkward crush on Max. Equally ineffective, but probably far more confident, or at least, direct. And if Nathan was the type of kid used to swinging on someone, he wouldn't have thought to need a gun to intimidate some stringbean girl like Chloe. Instead the game is like "eh, sometimes men fight, boys are weird. Max and Chloe don't understand these dudes, but that's what they do, moving on." And while yes, many guys hit each other, 18 year old photography students in an Arcadian paradise who couldn't make junior varsity on a high school football team are not those guys. They'd also, like, suck at hitting each other effectively, even if they tried.
Chloe carrying a high supermax back to the observatory 🥹🥹
Kofi
Another banger from @somewillwin, just bursting with character. vibes I'm picking up: (or perhaps vibes I'm just hallucinating) 1. Here we can see Chloe Price trying to act like this picture has not perfectly described every moment of her relationship with Max. Be so fr rn, Chloe, the girl is obsessed with you, and greatly relies on you during every moment she is not using her superpowers-- we are not buying your faux surprise. As long as there's no magical storms on the horizon, you're in the driver's seat. Sometimes literally. 2. We are not buying your faux irritation, either (although we recognize you are barely trying to maintain that illusion), we know you love this shit. "OMG This Girl" nah, you drove like 18 hours to be here. Who are you trying to fool? You'd carry her high ass all the way back to Arcadia Bay if she asked. Absolute cinema. Somewillwin always wins.
Chloe carrying a high supermax back to the observatory 🥹🥹
Kofi
Good mornig
This is the last time I draw Chloe’s bedroom, she has too many things lying all around!
Thanks to Andrea, who helped me with the light and the shadow, as usual! XD
Classic piece of foundational Pricefield art. Belongs in the Louvre and on the currency of every nation.
there's so much comfort for me in their softness
Chloe is so lucky that this situation is impossible to fumble.
there's so much comfort for me in their softness
Pricefield Thoughts
original art by @sapphicteaparty and @tylerjaaay
Pricefielding it on BlueSky
Original Art by @katiknitt, thought bubbles by me
Original Art by @sapphicteaparty, thought bubbles by me
What does it really mean to Sacrifice Arcadia Bay?
Life is Strange is about changing the past- but not with superpowers.
Chloe Price dies early on, but she'd been hurtling toward that fate for quite some time. Max Caulfield had the ability to perhaps change that trajectory before the game even starts. But she didn't. Max and Chloe have been separated for 6 years and during that time Max did not reach out to her friend once, leaving Chloe vulnerable and alone, especially after the disappearance of Rachel Amber. But all is not lost-but it still has nothing to do with superpowers. When the game starts, Max has been back in Arcadia Bay for 1 month-- but STILL has not contacted Chloe. They only end up "coincidentally" (or whatever passes for coincidental in this universe) running into each other-- and only after Chloe has already died once. Could Max have made a magical difference in Chloe's life, years before becoming magical? We cannot know-- but Chloe brings up the radio silence early, in her next appearance after her undone death. She has just returned from the grave but is not looking over her shoulder for murderers-unless she is indeed talking about what really killed her. (Yes, she doesn't know she'd been shot-- I mean from the perspective of her as a literary character, not from her limited in-world perspective.)
Max is given a rewind-not the literal rewind powers of the game- but a chance to undo the guilt she has about never reaching out to her imperiled friend. The world gives them a week to help and cherish each other, for Max to steer Chloe toward life over and over again- but Chloe Price is already dead. You cannot wait until supernatural forces save you from your mistakes. Life must return to the way it was. This was only a respite, a charity to give the girls a little more time together, for Chloe to smile in the sun before she goes, for Max to see that she can help the ones she loves if she accepts the call to action. Now, reality rushes back in- the storm coming to collect its due. And so, Chloe d- (<<<)
Chloe was a lesson: you cannot wait until supernatural forces save you from your mistakes. Max has learned the value of speaking out for others, Max has changed, but life must return to the way it was (<<<) Chloe was a lesson; Max has learned (<<<) Chloe was (<<<) Chloe (<<<) Max does not want to lose her friend, she, like the central figure in all parables, now sees the error of her ways, the moral the universe was trying to impose, and pleads for mercy. And the opportunity presents itself, but with a cost: if she wants this fantasy, this world where she saved her friend to really be real, she must rip up reality to have it. The underpinnings of the world that demand Chloe Price's death must be torn out and renovated for her to live. At one point in the past, there would have been no need to suffer such brutal refurbishment- but we'll never know when. Could a kind word or friendly text have undone this without any time magic just a year ago? A month? Two weeks? But that is not all that must be undone. In order to mend this, Max must surrender her ability to mend. Sacrificing Chloe involves using her powers to go back in time-- sacrificing Arcadia Bay involves forfeiting the opportunity to do so. She must rip up the photograph, rip up the past, rip up everyone else she has saved- the world is giving her the chance to go back and change one grave mistake- but if she chooses this, she will never be allowed to do it again. If she wants to pay this outlandish premium to continue the free trial of a world where she saved Chloe Price and Chloe Price saved her, she must tear out the part of her that has learned what happens when it is too late to act. Max will be giving up the idea of Chloe Price: (that Max can make a difference, but also that bravery is not optional: her inaction has consequences): in exchange for the Chloe Price. And this will not just destroy the people of Arcadia Bay, but all the future Chloe Prices that Max may have saved with the moral weight of Chloe's passing on her shoulders.
So, what will it be, Caulfield? Be an Everyday Hero, motivated by a personal flaw that led to tragic loss, immortalize Chloe Price in your mind's photograph as a reminder for what drives you, for what to never do again? Are you at Blackwell Academy to learn how to capture the human essence, to reflect on your own? What's a daguerreotype? or do you surrender the abstract lifelong picture for the tangible, present emotion? Do you follow that big blue butterfly: chaotic and beautiful, untethered to record or reason, with no guarantees about its impact, positive or negative? It flutters: no photograph, no security: no checkpoint to reload. It's fragile: at any moment, all the pain put into its protection could be wasted by an uncaring universe. But it is yours for as long as you can hold on to it, paid for with a promise of all of your love; all the love that you now can never learn to reflect onto anyone else except her.
There's no easy answer. After all, Life is --
another pricefield doodle, out of all things they’re the ones that get me drawing again
Chloe always seems like she’s trying to balance a complex rizz equation that will perfectly win Max over, not too much, not too little —
Ms. Price, the girl is already collapsing into your arms. she put you down as her emergency contact 6 years ago; she literally seeks comfort and safety from your protective embrace- you beat this level when you turned on the Xbox.
You’re doing endless gay calculus trying to tease Max into kissing you once— meanwhile she cannot fathom an existence without your hugs.
you gotta lock in dude
Pricefield Hysteria
I've seen a lot of posts on Tumblr and Reddit about how devastating it is that this is finally the end of Max and Chloe's story, that some big thing is over and an era has ended-- I mean this in the nicest possible way:
bro, what? what era? Life is Strange came out in 2015. Double Exposure came out NINE YEARS LATER. What did you do during all that time, hibernate?
And now we have Reunion. It's not like this was some daily part of your life where you were constantly getting updates on Max's story; it wasn't some omnipresent tv show with 20 new episodes every 6 months or an 8 year presidential administration: it's literally (before this month) TWO very short video games spread out over a decade, plus a prequel that basically doesn't have Max in it, and some unrelated stories.
This isn't an "era," it's three disconnected points in time. You mfs are gaslighting yourselves into anxiety. You're going to be fine, you weren't being sustained by regular Life is Strange releases for the last 10 years, you were enjoying the bare scraps we got and survived just fine. now go back to scrolling tumblr for pricefield cuddling images; I know why you're here