u/JoshTheBard

I know how it works in terms of gameplay mechanics but I mean in terms of the lore.

We can't see the Voices, just like the Narrator can't perceive the mirror and TSM says she can't find her vessels because they are also her (or something to that effect)

As we are the player, it feels like TLQ is the one with the most agency. The princess is harsh or innocent depending on whether or not we take the blade with us. But I wondered if the opposite could be true. Do we sense the disposition of the princess and take or leave the blade accordingly? Probably not but seeing the Voices given physical form made me think about how much like the Vessels they are.

At first I thought they were based on the disposition of TLQ during the previous chapter. The Hero being another term for protagonist. But obviously every player sees things from a different perspective and might make choices for different reasons so at best the Voice you get is what the developers perceive your disposition to be.

But the game is very meta so I started wondering if the voices are shaped by the Narrator and Princess's perception of TLQ. I haven't completed every route and I'm sure this idea was already discussed several times over the past 2 years (serves me right for waiting so long to play this game) but thinking back on the paths I have taken it lines up.

We always start with The Hero because that's what the Narrator sees us as. The Hero who will slay The Shifting Mound and save the world. The Princess doesn't form her perception of us until later. My very first time in the game I wanted to find the bounds of the world I was placed in. I asked all the questions I could and then walked away from the cabin. I could sense going to the Cabin would progress the story so I wanted to go everywhere else first. I felt like an explorer but was given the Contrarian because the Narrator perceived someone doing the opposite of what he was told at every opportunity.

The cold has appeared every time I simply walked up to the princess and stabbed her. She would have seen a cold unfeeling monster.

The broken appeared after I came in with the power (the blade) but was completely defeated. The Princess saw me as a force that broke against the walls of her tower.

The Sceptic shows up when you appear to question without being contrary for the take of being contrary. Like when you take the blade but then choose to free the Princess even though that was my intention going in. But also when you meet the Damsel and question her lack of independent desire.

I got the opportunist when the Narrator took over my body because the Princess doesn't know what's happening in our head, just that we waited until we had her trust to strike.

The Hunted is the opposite she sees that you came down with no fangs (Blade) and she was the undisputed victor.

The Paranoid came when I wanted to take some time to check for more options because I (rightly it turns out) didn't think the Narrator would let me free the Princess a third time. But what they both saw was someone refusing to trust either of them.

It's fitting because people don't judge us on what we think in our heads but on how they precive our actions.

TLDNR: I'm probably rambling about things that have been discussed to death by now but it feels like The Voices are like The Vessels in that they are shaped by how TLQ is perceived more than what they actually believe about themselves, because the self is the only thing you can't perceive so it's the one thing you can't affect in the Construct.

If Rogue touched, like let's say Bob Ross, would she get the ability to paint and talk in a super relaxing voice? Or does it only work on supernatural powers?

Obviously any adaptation or reinvention of a character is going to change things, but what are the core aspects of Matt's personality and story that need to be kept for a Daredevil adaptation to still be Matt Murdock and not an OC cosplaying Daredevil?

My son was gifted a box of hand-me-down toys and inside was a happy mead Shadow the Hedgehog which was his first exposure to the Sonic franchise. He looked at Shadow with no outside context and went "He's a bad guy... I LOVE him!"

So I tried watching the Sonic movies with him but he wasn't at all into it and we moved on with our lives. But last week I decided to try again but to start with Sonic 3 (when Shadow shows up) and he responded much better... Until we got through the intro where Shadow escapes and it cuts to Sonic and his friends. My kid immediately lost interest and made me skip ahead until Shadow was back onscreen.

I've been reading old Hulk comics and for the Secret Wars and Infinity Gauntlet events Hulk will have one issue that ends with him literally walking through a portal to join the crossover event and then the next issue is him walking back out and continuing whatever plotline he was in the middle of.

More recent stuff I have read will have the series getting a tag on the covers for a few issues that focus on their part in the event.

I prefer the old way. Maybe I've just been unlikely and it works most of the time but I feel like the new way can derail whatever story the series is trying to tell.

Especially one that takes into account the numerous supernatural and divine beings Matt has encountered?

Who are some of the best civilian love interests in comics. Ones who remained compelling and relevant without having to become superheroes.

Lois Lane is probably the most well known. MJ and Betty Ross are both long lasting but both are powered now.

Alicia Masters isn't as high profile but I do think she's pretty compelling as a partner for Ben but I can't think of many others.

I was reading The Defenders and Angel shows up towards the end of the run with his girlfriend Candy Southern and I really liked how she was able to stay present in the story without becoming a superhero. I got curious and looked her up on the Wiki and was disappointed to learn she died shortly after the end of The Defenders ended and was wondering how many other interesting civilian love interests are hidden in the history of comics.