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Tier list
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That time in the game when the compulsion Nodoka explained first started being heavily foreshadowed (because there are other events during that time that also start talking about it):
and then Rin starts dreaming of the resets/or maybe the purity routes
This is in tone with something that was said during the ending to the first beach trip, which is the explanation to the room with the clocks:
Which is when Rin heard the clocks, which led to her dreaming of the resets.
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Last edited:
- May 27, 2020
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You may want to have a hex translator bookmarked, but you might also want to look up the event on the wiki. Not sure how easy it is to find the event name with autovn, guide mod makes it easy enough with normal play.
The wiki has most of the translations done, even for messages that only appear for one frame
Definitely Yumi. You might not have seen enough Yumi yet between start of the game and Autovn. But Sensei does make a point that she blushes a lot when they argue. And she lets Sensei get away with a lot for someone she wants to die.
Makoto just hasn't had enough screen time to bloom. She's quite the opposite after a certain point.
You'll be sent some unprompted as you progress, but events will happen like Makoto's Dildo and if you pay attention you can get some extra phone lore immediately after the event ends and you reach the next menu / event.
- Aug 23, 2023
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Edit first because it doesn't have anything to do with the post:
Now, the actual post deals with Otoha possibly singing about Sekai's marriage.
Okay so first of all, this bitch:
So yeah, Otoha ever obsessed with Akira's girlfriends and even singing about them potentially. Also fuck you, Otoha. Not even being a martyr would save you for me.
Just adding to it, one of Yumi's events is literally called:
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Now, the actual post deals with Otoha possibly singing about Sekai's marriage.
Okay so first of all, this bitch:
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I kinda want her disapointed since I don't like her that much but on the flip side I worry for everyone if she is pissed off.
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I want that milf booty... want her done like Chika in Touka's room, absolutely mindbreak her with 20 consecutive orgasms... 20 years of sexual dissatisfaction destroyed in a single night...
- Dec 18, 2020
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Well, it'll be... less interesting. I won't spoil too much for you, but Maya and other girls wouldn't get as much attention if there was no goddish fuckery in the game.
They are.
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What I feel so far (Though this will definitely change as updates come out
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If you thought I was complaining I think I did a poor job phrasing my intent. All I said about the writing was that it felt inconsistent at times. After which I said it was either intentional or because of the writing improving over time.
- Nov 22, 2021
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Upon this early morning dreary, feeling weak and weary, I found myself once again listening to a track of Good Kid on Youtube - most precisely, the video "Good kid - Bubbly [1 hour]" (4.4k views) uploaded by Horror 163 (544 subscribers). This is a particularly enchanting track for me due to the contrast between the upbeat rhythm and the rather grim lyrics. To quote: I never sleep, I never eat, I never leave my house alone. This particular chorus resounds in my head like shouts echoing within a cavern void of all but darkness. I find myself murmuring it to myself at idle moments. I never sleep, I say as I get in bed, I never eat, I say as I slouch in my chair, and I most certainly never leave my house, much less alone. But in these moments I am far from despondent myself: if Good Kid man never sleeps and never eats, why should I feel bad about it myself? It makes me feel enthused to continue existing, and I give my usual silent prayer of gratitude to Lessons in Love for introducing me to a life-defining band.
But invariably there will come a momentum of contemplation which interrupts the stillness, and in this case it's the community's overall poor reception to the Good Kid tracks. I have nothing bad to say about this in itself - I know one individual who loathes all music with comprehensible lyrics simply because he prefers the more primal enchantment of raw beats to thinking about any such poetry, and I can imagine that the erudite readers of Lessons in Love would have respectably eclectic tastes of their own. However I must say that the sheer vitriol directed at the update and music continue to perplex me to a degree, for while I played the tracks felt completely natural to me, and I found the music fairly good as well. If I had a complaint it was mainly that I felt, in retrospect, it was deceptive for Him to comment on this update having "the most new music on any update since such-and-such" which swelled anticipation for something much more original or unique than a series of Good Kid tracks.
Nonetheless, when reality does not meet your expectation that means one must "update their priors" as we Bayesians say, and I have done so, though my intention here is not to get into that too much. The unique playstyles individuals have go far beyond what can be covered in a brief F95 post - the psychology to vetting all music in a game's updates and deleting tracks which does not suit one's taste, for example, is worthy of a dedicated post. Instead, I thought - as good kid man sings into my ears 'I get the feeling I will someday die, and I'm not going to care' - that it might be fun to record some meditations on the inclusion of Good Kid in Lessons in Love.
The first observation
The second observation is of more concrete meaning. Good Kid's lyrics are shockingly well-suited for Lessons in Love's themes. Now, this is something tricky, because I have over time found LiL's themes to be so fundamentally and universally relevant that they can be seen everywhere. For example, I recently watched Arawakawa Under the Bridge to see if perhaps the Arakawa family name was inspired by it, and while at first I was stricken by how perhaps such-and-such denpa was inspired by such-and-such idea, it later became extremely apparent to me that Arakawa is chiefly from Arakawa Naoshi, and BOY, if you want to see the inspiration for ideas, do I recommend watching Your Lie In April! HA HA HA!
That's a tangent though - the reality is that such primal themes such as mental illness, the seasons, etc, are universal to the primal human zeitgeist, and so phantoms of their presence can be seen anywhere. One must be wary of drawing lines between dots which ultimately form a grotesque creature rather than a divine symmetrical shape. However, in LiL's case, it's a fact Good Kid tracks were put into the game, and thus are worthy of special attention. To that end I have selected three tracks for our lyrical analysis: Summer, Second Rate Town, and Pox. I have implied analysis of Bubbly above - I trust the reader to determine the significance of staying inside all the time and having a lack of care for death.
Firstly, "Summer" should draw attention for its name alone, for of all the seasons we can say that Summer has presently been "The most important" in Lessons in Love in certain senses. Let us look at some choice lyrics:
Much like killing frogs and jokes by dissecting them, I am wary about placing definitive interpretations for lyrics. Even if the lyricist were to have a specific idea in mind, it's important that art takes a life on its own and new meaning can be derived through different ways of looking at it. Thus what I offer here is only one interpretation which ideally would be used for fuel as future thought.
As made more clear in a post by the band, this is a song about picking up the pieces of yourself after you've fallen apart and accepting your flaws - including the parts of yourself you don't love. If one did not immediately recoil in realization as they draw a parallel from that to SeleGHAghaCOUGH COUGH from that to Sensei then I am uncertain what to say. The cycle of being unable to believe something is over (in this case: summer, perhaps his Hot Boy Summer, his time of turning around and having the happiest times with his students), to being determined to "piece yourself back together" to try again, etc, are all potently relevant to Lessons in Love. The song even references the wings of a sparrow - what this means honestly I don't know but it's a bird so you know has to be pretty potent. I could go on but we have two more tracks to glance at. (I recommend watching the music video for Summer; it honestly helps a lot with interpreting the lyrics).
The second track is 'Second Rate Town.' Now this one is a jam. Let's get right to the lyrics.
Obviously, my mind here is drawn to Kumonoami. One could certainly say that the town is stretched way too thin, and that Sensei is noticing it, though perhaps the more interesting aspect is the way in which the singer seems to be pleading with an individual to like a place more than they do - this song actually has two different titles, First-Rate Town and Second-Rate Town. Well, which is it? It's ambiguous, just like how Kumonoami is ambiguously a based town or not. You have certain individuals pleading with Sensei to love it there, while he may at times hate it there. Of particular interest is the background line "You can never leave," implying being trapped. Then there is "it will fade as all things must, I loved you but you didn't love me enough," which makes me think of either Sensei's trauma for Maya's suicide fading, OR Maya identifying that Sensei (as revealed by him choosing to abandon her when she got pregnant) didn't love her as much as she loved him. These are just tenuous connections, though, and not the purpose of the song. Nevertheless it's enjoyable to imagine this as a Kumonoami theme song of sorts. Of the songs played in LiL this one stuck out to me the most in the moment due to this.
The third track is 'Pox.' I chose this one purely because someone I know disliked all the Good Kid tracks, but said 'Pox' was the exception and the only one they liked. This may as well be random selection and will help prevent cherry picking in this analysis. I will now take a look to see what meaning I may derive.
Thoughts of particularly old repetition leading to a map aging to the point one lives by the creases rather than actively following any roads is intriguing - at this point in the game it is very distinct that the characters have rotten selective memories and kind of just ghost the lifestyle patterns they used to have, sometimes intentionally. Then we have more talk of 'towns,' the singer wishing a pox upon it, wanting to burn it down, and alluding to mass death (perhaps like the death of Sensei's class, though the details to this (barring a bus plummeting off a cliff) escape me; a favorite idea of mine is that after Sensei commits suicide, each of his class follows in turn because they can't live without his dick, though sadly it is also apparent that his over-sexualized body comes from his self-perception as a sex object rather than being an actual aspect of his true self).
Anyway, although it took longer than I intended, in the above paragraphs I gave examples of lyrics to demonstrate the clear thematic parallels of Good Kid's lyrics to Lessons in Love. It is a rather fitting band for the game, though I will again warn that many of these ideas are 'generic' (though I prefer the terminology 'aesthetically primal.') We could select a totally random band like Valleyheart, comb through lyrics, and point to lines like 'There's a knock on the door of my wavering troubled consciousness / and it's hard to ignore as the weather gets better outside / sure the blooming spring brings a brand new sense of accomplishment / what's the good if it doesn't feel right" or Take my worn out sense, make it new again / I think I've lost myself, can you heal my head?" However, in the broad scheme, I feel comfortable imagining the resonance He may have felt listening to good kid and the ideas He may have had when putting in the game, so claims that the songs are totally out of place seem disagreeable to me. Even were I not to like the songs, they give much food for contemplation and - to me - tie certain thematic knots in certain points of the long, long string that is The Game.
But is it not by lyrics that songs are most often judged; there is a strong tendency to simply absorb the sounds and then either smile or frown, with the former being a stamp of approval and the latter being a judgement of failure. This is another topic worthy of its own discussion: there is a STRONG tendency in critics to brutally tear apart a piece of media's story, visuals, etc, but completely throw their hands up at the music and say 'eh well I don't know about music so I can't say much but I like it / dislike it?'. This has perturbed me for a long time since it is so ubiquitous. I think there is a sort of mysticism to our resonance with air vibrations that compel even the most rational of analysis to mentally capitulate to magic and admit defeat. And arguably, this is wise of them, for rational critiques of music as produced by trained musicians are often bemusing - a friend of mine, for example, identifies the IV V iii vi chord progression with razor focus and cries on demand upon hearing it. That is a true story. However, it is hard to say a general audience will nod along and say 'Ah yes, this track was superb due to it's execution of the IV V iii vi chord progression.' In some saddening ways music is a firm bastion that continues to slay the ascent of Objective Critique.
I am no exception here. Not only am I not a musician, but I actively strive to avoid music theory in order to prevent myself from thinking in these concrete terms upon hearing music. Ignorance in this case may be bliss and if I open this Pandora's box it will be when I have exhausted more interesting topics. Nonetheless, I can say that Good Kid's tracks are pleasing to the ear and I found them enjoyable to listen to throughout the course of the Lessons in Love update. (I ESPECIALLY liked the chiptune versions present in Sensei Quest and left the game open for days at a time to listen to them before I realized that He had not arranged them himself and in fact I could just find them on youtube.) The problem is that this is lacking in substance to note; I may as well describe the strength of orgasmic bliss that rushed through my head as I ejaculated to a specific H-scene (answer: none. I have not whacked the mole to Lessons in Love a single time (nor did I discover it through h-scene tags) which makes me immune to approximately two/thirds of the fourth wall breaks.)
So instead I will try to scrape up a modicum of meaningful analysis. After hours of contemplation (again, listening to Bubbly - Good Kid) I have forged the shaky but perhaps meaningful idea that the Good Kid tracks provide valuable contrast. Ah, contrast, what a word beloved by critics and analysts alike! Let us ignore the desiccated skin of an overused term to instead identify what this means. After hundreds of hours of primarily ambient background tracks dotted by more contemplative, emotional tracks and distorted mockeries of them we are blasted with full-on upbeat indie rock so popular by the Youth that it is well-known for being officially included in the literal game Fortnite (to say nothing of the name of the band being literally Good Kid).
One does not be an analyst to notice this huge tonal whiplash. Indeed, it is this whiplash which has earned much ire! I saw one comment from someone aghast that after LiL consistently picked so many fitting, emotional tracks, the Good Kid update suddenly blew that all up will ill-fitting western music. But dare I say... that was the point? Okay, that is venturing too close to Happy Event apologism, so let me explain a bit. It's not like "being bad was the point." It's more like: what's going on at this moment? The class are performing a dorm war without Sensei. For a period they detach themselves from drama and are away from their depressive teacher. In the prime of their seething youth they engage in jubilant festivities and truly throw themselves at simply Having Fun, not to get in their teacher's pants, but to Have Fun - (indeed, those after the dildo take their leave). I would say this moment is so unique in LiL's history such a paradigm shift in music is more than fitting. It arouses excitement and energy in the class as much as us (keep in mind the music is wholly diegetic).
Consider an alternate reality where the dormitory war had a good - let's say great, even - ambient upbeat track to it. Some kind of vocal-free track not unlike ULTRA MEGA BATTLE THEME. This would have a pretty transformative effect; it's unlikely that the moment would have felt different or special, and it would run the risk of feeling more of the same, which would have likely been worse or less meaningful. Of course, we can only theorize at what other tracks may have been used, and I don't mean to say Good Kid was objectively the best choice. However, what I want to highlight is Lessons in Love is a game that is evolving and changing before our eyes, each new chapter a step into a new world. A bucket of cold water like Good Kid being splashed in our faces is precisely the kind of wake up call that a new paradigm calls for. Even those displeased by the reverberations are liable to remember it for months or years to come - and that, I find, is quite an artistic accomplishment.
Anyway, I think that's about all I have to say on this subject for now. The reaction to the Good Kid tracks continues to be as fascinating to me as the tracks themselves. Much like a mine rich in valuable ore, the more I contemplate it the more insight I seem to derive. I think those displeased by the Good Kid tracks may stand to benefit from spending 15 to 20 hours playing Good Kid's EP on loop while paying close attention to the lyrics and attempting to reach their inner child on Field Day. For now, I must give Good Kid EP 3 another listen since I've been biasing 1 and 4 lately. Its track Madeleine is rather interesting itself...
The sun had shined, the earth as well
Her eyes were two half moons
And even when we lost ourselves
To something in between
The words we shared are all still there
To show us where we'd been
I'll go wherever you go
I'll go wherever you go
I'll go wherever you go
I'll go wherever you go
But invariably there will come a momentum of contemplation which interrupts the stillness, and in this case it's the community's overall poor reception to the Good Kid tracks. I have nothing bad to say about this in itself - I know one individual who loathes all music with comprehensible lyrics simply because he prefers the more primal enchantment of raw beats to thinking about any such poetry, and I can imagine that the erudite readers of Lessons in Love would have respectably eclectic tastes of their own. However I must say that the sheer vitriol directed at the update and music continue to perplex me to a degree, for while I played the tracks felt completely natural to me, and I found the music fairly good as well. If I had a complaint it was mainly that I felt, in retrospect, it was deceptive for Him to comment on this update having "the most new music on any update since such-and-such" which swelled anticipation for something much more original or unique than a series of Good Kid tracks.
Nonetheless, when reality does not meet your expectation that means one must "update their priors" as we Bayesians say, and I have done so, though my intention here is not to get into that too much. The unique playstyles individuals have go far beyond what can be covered in a brief F95 post - the psychology to vetting all music in a game's updates and deleting tracks which does not suit one's taste, for example, is worthy of a dedicated post. Instead, I thought - as good kid man sings into my ears 'I get the feeling I will someday die, and I'm not going to care' - that it might be fun to record some meditations on the inclusion of Good Kid in Lessons in Love.
The first observation
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This is intriguing because with a flash of intuition it struck me that Good Kid's tracks in the previous Dorm Wars may have been chosen purely due to the existence of these chiptune tracks. We can imagine that the broad strokes of Sensei Quest being painted years ahead of time (perhaps as early as Dear You was written, though I would have wagered it gestating in His mind since a viewing of Oretachi ni Tsubasa wa Nai, had He seen it), and the moment the good kid chiptune tracks were released the idea snapping into place (them being released, to my knowledge, months after the launch of my game; We have noticed a tendency for Him to track all new releases of relevant artists, so perhaps He saw them as soon as they were uploaded, or perhaps He saw them only later). In any case, speculation of this nature is wholly meaningless as creative inspiration is like - as my Dear Beloved David Lynch would say - like catching a fish from the dark shadows of the mind. It can happen at any time, it is out of one's control, and all one can do is quickly write down the intuitions. Remember to write down your intuitions! The dark energies of the brain are beyond our control, and as the electricity surges all can be gained or lost.The second observation is of more concrete meaning. Good Kid's lyrics are shockingly well-suited for Lessons in Love's themes. Now, this is something tricky, because I have over time found LiL's themes to be so fundamentally and universally relevant that they can be seen everywhere. For example, I recently watched Arawakawa Under the Bridge to see if perhaps the Arakawa family name was inspired by it, and while at first I was stricken by how perhaps such-and-such denpa was inspired by such-and-such idea, it later became extremely apparent to me that Arakawa is chiefly from Arakawa Naoshi, and BOY, if you want to see the inspiration for ideas, do I recommend watching Your Lie In April! HA HA HA!
That's a tangent though - the reality is that such primal themes such as mental illness, the seasons, etc, are universal to the primal human zeitgeist, and so phantoms of their presence can be seen anywhere. One must be wary of drawing lines between dots which ultimately form a grotesque creature rather than a divine symmetrical shape. However, in LiL's case, it's a fact Good Kid tracks were put into the game, and thus are worthy of special attention. To that end I have selected three tracks for our lyrical analysis: Summer, Second Rate Town, and Pox. I have implied analysis of Bubbly above - I trust the reader to determine the significance of staying inside all the time and having a lack of care for death.
Firstly, "Summer" should draw attention for its name alone, for of all the seasons we can say that Summer has presently been "The most important" in Lessons in Love in certain senses. Let us look at some choice lyrics:
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Much like killing frogs and jokes by dissecting them, I am wary about placing definitive interpretations for lyrics. Even if the lyricist were to have a specific idea in mind, it's important that art takes a life on its own and new meaning can be derived through different ways of looking at it. Thus what I offer here is only one interpretation which ideally would be used for fuel as future thought.
As made more clear in a post by the band, this is a song about picking up the pieces of yourself after you've fallen apart and accepting your flaws - including the parts of yourself you don't love. If one did not immediately recoil in realization as they draw a parallel from that to SeleGHAghaCOUGH COUGH from that to Sensei then I am uncertain what to say. The cycle of being unable to believe something is over (in this case: summer, perhaps his Hot Boy Summer, his time of turning around and having the happiest times with his students), to being determined to "piece yourself back together" to try again, etc, are all potently relevant to Lessons in Love. The song even references the wings of a sparrow - what this means honestly I don't know but it's a bird so you know has to be pretty potent. I could go on but we have two more tracks to glance at. (I recommend watching the music video for Summer; it honestly helps a lot with interpreting the lyrics).
The second track is 'Second Rate Town.' Now this one is a jam. Let's get right to the lyrics.
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Obviously, my mind here is drawn to Kumonoami. One could certainly say that the town is stretched way too thin, and that Sensei is noticing it, though perhaps the more interesting aspect is the way in which the singer seems to be pleading with an individual to like a place more than they do - this song actually has two different titles, First-Rate Town and Second-Rate Town. Well, which is it? It's ambiguous, just like how Kumonoami is ambiguously a based town or not. You have certain individuals pleading with Sensei to love it there, while he may at times hate it there. Of particular interest is the background line "You can never leave," implying being trapped. Then there is "it will fade as all things must, I loved you but you didn't love me enough," which makes me think of either Sensei's trauma for Maya's suicide fading, OR Maya identifying that Sensei (as revealed by him choosing to abandon her when she got pregnant) didn't love her as much as she loved him. These are just tenuous connections, though, and not the purpose of the song. Nevertheless it's enjoyable to imagine this as a Kumonoami theme song of sorts. Of the songs played in LiL this one stuck out to me the most in the moment due to this.
The third track is 'Pox.' I chose this one purely because someone I know disliked all the Good Kid tracks, but said 'Pox' was the exception and the only one they liked. This may as well be random selection and will help prevent cherry picking in this analysis. I will now take a look to see what meaning I may derive.
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Thoughts of particularly old repetition leading to a map aging to the point one lives by the creases rather than actively following any roads is intriguing - at this point in the game it is very distinct that the characters have rotten selective memories and kind of just ghost the lifestyle patterns they used to have, sometimes intentionally. Then we have more talk of 'towns,' the singer wishing a pox upon it, wanting to burn it down, and alluding to mass death (perhaps like the death of Sensei's class, though the details to this (barring a bus plummeting off a cliff) escape me; a favorite idea of mine is that after Sensei commits suicide, each of his class follows in turn because they can't live without his dick, though sadly it is also apparent that his over-sexualized body comes from his self-perception as a sex object rather than being an actual aspect of his true self).
Anyway, although it took longer than I intended, in the above paragraphs I gave examples of lyrics to demonstrate the clear thematic parallels of Good Kid's lyrics to Lessons in Love. It is a rather fitting band for the game, though I will again warn that many of these ideas are 'generic' (though I prefer the terminology 'aesthetically primal.') We could select a totally random band like Valleyheart, comb through lyrics, and point to lines like 'There's a knock on the door of my wavering troubled consciousness / and it's hard to ignore as the weather gets better outside / sure the blooming spring brings a brand new sense of accomplishment / what's the good if it doesn't feel right" or Take my worn out sense, make it new again / I think I've lost myself, can you heal my head?" However, in the broad scheme, I feel comfortable imagining the resonance He may have felt listening to good kid and the ideas He may have had when putting in the game, so claims that the songs are totally out of place seem disagreeable to me. Even were I not to like the songs, they give much food for contemplation and - to me - tie certain thematic knots in certain points of the long, long string that is The Game.
But is it not by lyrics that songs are most often judged; there is a strong tendency to simply absorb the sounds and then either smile or frown, with the former being a stamp of approval and the latter being a judgement of failure. This is another topic worthy of its own discussion: there is a STRONG tendency in critics to brutally tear apart a piece of media's story, visuals, etc, but completely throw their hands up at the music and say 'eh well I don't know about music so I can't say much but I like it / dislike it?'. This has perturbed me for a long time since it is so ubiquitous. I think there is a sort of mysticism to our resonance with air vibrations that compel even the most rational of analysis to mentally capitulate to magic and admit defeat. And arguably, this is wise of them, for rational critiques of music as produced by trained musicians are often bemusing - a friend of mine, for example, identifies the IV V iii vi chord progression with razor focus and cries on demand upon hearing it. That is a true story. However, it is hard to say a general audience will nod along and say 'Ah yes, this track was superb due to it's execution of the IV V iii vi chord progression.' In some saddening ways music is a firm bastion that continues to slay the ascent of Objective Critique.
I am no exception here. Not only am I not a musician, but I actively strive to avoid music theory in order to prevent myself from thinking in these concrete terms upon hearing music. Ignorance in this case may be bliss and if I open this Pandora's box it will be when I have exhausted more interesting topics. Nonetheless, I can say that Good Kid's tracks are pleasing to the ear and I found them enjoyable to listen to throughout the course of the Lessons in Love update. (I ESPECIALLY liked the chiptune versions present in Sensei Quest and left the game open for days at a time to listen to them before I realized that He had not arranged them himself and in fact I could just find them on youtube.) The problem is that this is lacking in substance to note; I may as well describe the strength of orgasmic bliss that rushed through my head as I ejaculated to a specific H-scene (answer: none. I have not whacked the mole to Lessons in Love a single time (nor did I discover it through h-scene tags) which makes me immune to approximately two/thirds of the fourth wall breaks.)
So instead I will try to scrape up a modicum of meaningful analysis. After hours of contemplation (again, listening to Bubbly - Good Kid) I have forged the shaky but perhaps meaningful idea that the Good Kid tracks provide valuable contrast. Ah, contrast, what a word beloved by critics and analysts alike! Let us ignore the desiccated skin of an overused term to instead identify what this means. After hundreds of hours of primarily ambient background tracks dotted by more contemplative, emotional tracks and distorted mockeries of them we are blasted with full-on upbeat indie rock so popular by the Youth that it is well-known for being officially included in the literal game Fortnite (to say nothing of the name of the band being literally Good Kid).
One does not be an analyst to notice this huge tonal whiplash. Indeed, it is this whiplash which has earned much ire! I saw one comment from someone aghast that after LiL consistently picked so many fitting, emotional tracks, the Good Kid update suddenly blew that all up will ill-fitting western music. But dare I say... that was the point? Okay, that is venturing too close to Happy Event apologism, so let me explain a bit. It's not like "being bad was the point." It's more like: what's going on at this moment? The class are performing a dorm war without Sensei. For a period they detach themselves from drama and are away from their depressive teacher. In the prime of their seething youth they engage in jubilant festivities and truly throw themselves at simply Having Fun, not to get in their teacher's pants, but to Have Fun - (indeed, those after the dildo take their leave). I would say this moment is so unique in LiL's history such a paradigm shift in music is more than fitting. It arouses excitement and energy in the class as much as us (keep in mind the music is wholly diegetic).
Consider an alternate reality where the dormitory war had a good - let's say great, even - ambient upbeat track to it. Some kind of vocal-free track not unlike ULTRA MEGA BATTLE THEME. This would have a pretty transformative effect; it's unlikely that the moment would have felt different or special, and it would run the risk of feeling more of the same, which would have likely been worse or less meaningful. Of course, we can only theorize at what other tracks may have been used, and I don't mean to say Good Kid was objectively the best choice. However, what I want to highlight is Lessons in Love is a game that is evolving and changing before our eyes, each new chapter a step into a new world. A bucket of cold water like Good Kid being splashed in our faces is precisely the kind of wake up call that a new paradigm calls for. Even those displeased by the reverberations are liable to remember it for months or years to come - and that, I find, is quite an artistic accomplishment.
Anyway, I think that's about all I have to say on this subject for now. The reaction to the Good Kid tracks continues to be as fascinating to me as the tracks themselves. Much like a mine rich in valuable ore, the more I contemplate it the more insight I seem to derive. I think those displeased by the Good Kid tracks may stand to benefit from spending 15 to 20 hours playing Good Kid's EP on loop while paying close attention to the lyrics and attempting to reach their inner child on Field Day. For now, I must give Good Kid EP 3 another listen since I've been biasing 1 and 4 lately. Its track Madeleine is rather interesting itself...
The sun had shined, the earth as well
Her eyes were two half moons
And even when we lost ourselves
To something in between
The words we shared are all still there
To show us where we'd been
I'll go wherever you go
I'll go wherever you go
I'll go wherever you go
I'll go wherever you go
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