Are you putting forward that every narrator is under Pareidolia's command since he's "the voice inside your head", and technically so are all narrators?
Cause it could also simply be the case that the specific narrator from "Miserably ever after" is working for him, and not the one that tells us Nozomu's story.
As for HOPE, I'm pretty sure that's his name since it's the church of new hope and HOPE is the key to decipher Yasu's god's language. As to why Yasu doesn't use this name... I don't know, she says he's their hope, but never refers to that as his name.
I could more easily jump into Nozomu not being a god's actual name, but rather a jab at Akira by the narrator.
Edit: one could extrapolate that by calling him their hope, she'd be calling him their nozomu since they're speaking in japanese... but that's a huge stretch, and I'm sure hope can (and would) be said in other forms than Nozomu.
Definitely possible. Same could be said with the Shapeshifters and most other things that don't fit in with the other 2 C-gods. Even all these other gods didn't start showing up until Pareidolia gained more control, and considering even Jesus is one of these gods:
(Who also talked in Lower Case which has seemed to be Pareidolia's thing.)
Overall: If one Narrator can be silenced by Pareidolia, it seems unlikely that others couldn't as well.
As for the church stuff, there's plenty of New Hope churches in real life, but their gods tend to not be named HOPE or at least not name themselves that. The Key being "HOPE" should at least imply a correlation, though.
Still, although implied to be the same god, it doesn't necessarily mean it is the actual/original name of that god. Plenty of the same gods (in essense) in real life have different names depending on who's using them and why.
Nozomu and even HOPE could just be new names for something else. Something that has been considered Callous with Many Eyes.
Man, either these fan artists have become Selebus himself or it's a preview, I can't fucking tell anymore especially after that Chinami The Big vs Sister Chika picture.
Btw I'll back at some point, life has gotten unexpectedly busy for me.
Man, either these fan artists have become Selebus himself or it's a preview, I can't fucking tell anymore especially after that Chinami The Big vs Sister Chika picture.
Pretty much all of this game was written on the run lmao. He has key points, but he improvises how he gets to those. It's a normal way of writing and I think most writers do it this way, is just a fun way to do it.
Okay, so there is A LOT to unpack about this event, and I might do it on another post. But let's focus on this one fact for now: When Akira "blacks out" he engages into an auto-pilot that is based on memory, but not simply the memory of his trauma, it's rather the compulsive memory of already having lived that event.
For instance, in "this town has two halves", if you choose to leave Yumi alone, we get:
It's been a long time question of who was making Akira do this, and well, what if it wasn't anyone but the nature of the resets themselves? Actually, what if it was Akira that was making Akira do this? And by that I mean the so many times old Akiras have done this: You have already made your choice. It was himself that made that choice, and he chose it so many times he feels compelled to choose it again, since he's simply too weak to fight the compulsion of repetition.
It was a real question as to who was guiding Akira to Yumi in this, as Pareidolia is the one that tries to get him out of there. If you interpret it as it being his memories of being with Yumi guiding him there, then it makes more sense. Everything he says to her, both in this event and every other that are "supernatural overrides" might as well be stuff he has said to her previously in other cycles. None of them ever weren't the way he feels anyway, just cruder or out of place versions of it.
I've talked a lot about Yumi's beach event so I'll just reiterate with one screenshot that concludes this point on Yumi's side:
The entire event is about both of them recovering part of their feelings for one another from previous cycles, or at least aknowledging they existed. Well, isn't this sentence very damning? Yumi has missed her cue for this scene.
Okay so, why and how Akira can find Kaori so easily, and why/how can she know these things? It's because they're both acting out what has already happened. Kaori knows these things because either Sekaori is part of her, or, and that's where this theory comes into play, because her head's not entirely there. And that allows her to more easily tap into fragments of the script. That's also how Akira always finds her, because he's done it many times over and had these same conversations. And that's also why he knows he's not going to find her.
Anyway, I hope I have properly conveyed why I think it could be huge. We have had theories before that had Akira simply acting in a compulsion to his "inner instincts" and thus eliminating much of the supernatural side of things of him being controlled. And this is not what this theory is. This is Akira being controlled by the compulsion of previous resets, activated by either gods, triggers or overwhelming similarites in reliving events he's lived so many times.
I’ve been thinking about what to do since the next two updates will be split into two parts, and I think I’m gonna wait the extra month to tackle them both at once.
Temptation will try to get me to do it earlier but I’m committed lol. So yeah, if I’m more inactive than usual on here after the 1st, then that’s why.
Hopefully the full experience of Halloween and Reset 7 will be worth it.
Pretty much all of this game was written on the run lmao. He has key points, but he improvises how he gets to those. It's a normal way of writing and I think most writers do it this way, is just a fun way to do it.
Making it up as you go is a terrible way to write, you should have the major plot points planned from the start. Mysteries should only be mysteries to the audience, the writer should already know the answer. I hate that JJ Abrams style of writing, creating "mystery boxes" without bothering to put anything in them.
Making it up as you go is a terrible way to write, you should have the major plot points planned from the start. Mysteries should only be mysteries to the audience, the writer should already know the answer. I hate that JJ Abrams style of writing, creating "mystery boxes" without bothering to put anything in them.
Heh. There's two totally different ways authors approach writing: there are "plotters" who plan everything out meticulously -- their outlines are sometimes longer than their books -- and "pantsers" who... you know. Fly by the seat of their pants.
There are amazing writers in both camps, so I think saying only one or the other is "right" misses the point. (Though one of the more famous current pantsers, GRRM, has apparently written himself into an unresolvable hole, which is why the last book -- two? -- in ASOIAF may never appear.)
Me? I'm a plantser, why do you ask? (I outline, but the characters inevitably hijack the plot at some point; I've learned to go with it.)
(Though one of the more famous current pantsers, GRRM, has apparently written himself into an unresolvable hole, which is why the last book -- two? -- in ASOIAF may never appear.)
It's not that it's an unresolvable hole, it's the problem with pantsing in general, what made/makes aSoIaF so good is it's believability, shit happens naturally, shit happens cause of previous shit that happened, no one has plot armor, the story goes where it goes, it's not lead, it evolves naturally. This is great but it suffers at the end of the story, the need to tie things up is inherently unnatural, it's forced, it feels forced 99% of the time cause it is, there's no true end point for a story that's built around shit happening organically, wherever you chose to call the ending, there's still more after that point, unless you force a bunch of shit to come to a head at once. It can be done, but god is it hard to make it feel natural. GRRM can't do it, his parts have too much distance between them, he gave the outline to the show runners and we all saw what they did with it, the last few seasons were a mess of plot holes, teleporting characters and contrived bullshit all to force the finale and it felt distinctly crap because it wasn't what the first 3 or 4 seasons felt like. Plotters have their own problems but given most stories lean towards plotters over pantsers, i don't really think there's a need to elaborate on that, we all know good and bad plotted stories.
