Yeah, it’s in It. The clown’s name is Pennywise (for reference). Weird, though, that my top three horror movies includes no Stephen King adaptation: it’s John Carpenter’s The Thing (1982, best year), Alien (1979), and The Descent (2005, and fuck that movie, which I still can’t watch in full with the lights off).
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Fun fact, I don’t think King’s horror is actually that good (although Revival gave me nightmares for a couple of nights). Marko Hautala on the other hand…
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Hmm. Purely in terms of writing quality, I’d have to choose Fernweh over Wayhaven. In terms of almost everything else I play games for, though, Wayhaven wins. Now it isn’t quite fair since we’ve got 3 Wayhavens to 1 Fernweh so far, plus I’m a huge fantasy fan and not really a horror fan at all. I liked Fernweh, though.
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See this, for me, would be where I would assume the relationship started. But from what people have been saying, and what Mishka has said, that is not the case. Sooooo I’m stuck picking the last option 
EDIT:
I accept my consolation prize
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And yet it still means nada. 
That was sweet, though. And you still got the falling asleep scene, which was awesome. 
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I was a bit confused there too, because up until that point we’ve always had a “Will it mean something?” option, and suddenly there’s no way to ask, so… are we supposed to assume “Yes”? Or “No”? Or what?
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It seemed like a bait and switch, really. Presented as though it’ll mean something, then doesn’t. But that’s how M’s path ends, anyway, with M taking the shot to a direct freaking I Never question when that’s not what M meant at all.
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Sure. I shall grant you three simple points.
It drags out the plot a lot (a lot).
The player has very little agency.
All ROs are romance tropes in some form.
Murphyyyyyyy is that youuuuuuuu? Are we gonna find out you escaped you sly dog?
Okay, so, I have just finished Book 3. Ending thoughts from someone that no one asked for. And for anyone reading, this is for the M route, so keep that in mind in case your experiences differ/differed.
PROS:
The M Romance and my thoughts on M's 'regression' in book 4
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This book by far did the best job with romance (from the one route I’ve played) out of all three books. Again, this is for M’s route. I loved pretty much everything I saw from this route. Everything. This includes the diner scene, because it was good to see some sort of argument and blowup happen between the two.
Diner Scene Chef’s kiss
Training Scene Chef’s kiss
Finding us nearly dead scene Chef’s kiss
Shower Scene Chef’s kiss
Crystal Scene Chef’s kiss
Telling us to be careful on the mission scene Chef’s kiss* (Asterisk explained in the Cons section)
Ending scene with spending the night with us Chef’s kiss* (Asterisk explained in the Cons section)M is a top tier written character now that they have stopped throwing sexual innuendos at literally everything we do or say. You can tell they still have that lust, but it’s starting to get overtaken by something much more prominent. By something much more real. I’ve seen people being upset with the differences between what Mishka has said on socials versus what was portrayed in the game. Fair enough if people would like to be a little fed up with the long wait, I can completely empathize with that. I’d kind of like to start seeing what it would be like to see the MC in that relationship officially with the character by now too.
However, let me play devil’s advocate here, because I think I might be able to shine a different light on this.
So, by the time M starts really acting like they care for us, it is after the scene where we nearly die. This is portrayed through a bunch of different scenes and a bunch of different emotions. The shower scene had M taking care of us and being gentle and worried. The scene before the mission had M being angry (from being worried) at the thought of losing us. The ending scene in our bedroom showed it through M being, I would say, desperate.
“Can I have tonight?” That line was most likely not just a great romantic gesture. In fact, that’s probably not what it was to M at all. M just wanted to be as close as possible with the MC in that moment. M, at that point, had lost the MC so many times in their mind. The scenario of their death playing over and over and over because, let’s face it, they are far from an optimist. That’s why, in the scene after the raid at the end, they were panicked while searching for the MC. There was no reason to think they died, because M had constant contact with them through the entire mission, but they still couldn’t push the thought out of their head.
M is in a twister of emotions. In the best friend scene (I chose F) they tried to deny that it was something more for the MC. Then they said they don’t know. They have no idea because, not only have they never felt this before, now they’re only feeling it after the MC almost dies numerous amounts of times, so it’s not even a completely natural feeling, because it’s constantly exaggerated by the idea of loss.
Fast forward a few days to the party at the MC’s apartment, and what is the first thing that M does when Unit Bravo arrives? They immediately rush towards the MC and drape an arm around them. That need to be close is still there. That intense need to know they’re not gone. The question comes up about falling for a coworker during never have I ever, and all M has been feeling for the past couple of weeks is that need to be close to a person they already had confusing feelings for. They are still not over the constant thoughts they were having, the fears, of losing the MC permanently. To them not being around anymore. Their feelings are still being pushed by an irrational string of thoughts and fears.
That sip M took at the end wasn’t a statement, it was answering a question with a question. The sip was M testing the waters with themselves, exploring a possibility that they’ve never let themselves consider before. Actual feelings. It’s possible the drink at the end was still them trying to figure out their shit. It was them testing the waters with a new idea that they’ve never allowed themselves to explore before, but at the end of the day, it was still an idea perpetuated by fear from a situation that was affecting how M felt. It wasn’t a completely natural exploration like what was happening in interactions before the near death experience with Sin.
So, after everything is said and done, once some more time passes and M has time to let their thoughts calm down, they may still be questioning themselves and wondering whether or not what they were feeling was real, or whether it was just the fear of the MC dying that was amping whatever she was feeling up by 11. So while I don’t think M will regress back to like, book 2 M, I do think a little regression from the ending of last book is fair.
BUT, that’s only if the MC doesn’t almost die in the next book. I get that it’s a way to put tension in the story, but it’s not the only way to put tension in the story. Let the feeling from the MC and the RO be explored naturally, and I think next book’s romance could top even this one.
That’s my TED talk. Moving on now.
The Antagonist
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The antagonist. Yes, some of you may be saying “The antagonist showed up for a total of about one scene and then basically rolled over and got captured.” That’s not false, but also not true.
If you’re talking about the “mastermind” behind it all, then it’s absolutely true, yes. They were cruel for the sake of being cruel, but didn’t show enough of that cruelty to be deemed a threat. Their super villain power was money. They were woefully unprepared for even the most minor of inconveniences.
HOWEVER, they were not the main antagonist of the story. They were used as a plot device to drive the main antagonist of the story, which in the end, was Sin. Notice how I used the word ‘antagonist’ and not ‘villain’. Sin was a very well done execution of the trope of a neutral party being forced to do evil things against their will by the evil people. His struggle to do the right thing, even knowing it would hurt him, was there.
I do wish we would’ve gotten some exposition to be able to read a scene where Sin was actually captured by the trappers though, just so we could understand his struggle just that little bit more and establish a timeline of just how long he’d been stuck being their supernatural puppet. But, at the end of the day, he was a memorable antagonist, and one that I arguably liked even more than Falk. Honestly, I hope to see him return some point down the line.
Setting the mood of scenes
- The mood of each scene was captured very nicely in most instances, I thought. The intense scenes were intense. The RO scenes were feelsy. I almost feel like giving 5-8 completely different feeling dialogue options harmed some scenes because I read some of the choice and just thought, “Only two of these would ever be viable.” But overall, the feeling of each individual scene was nicely done.
Cons:
Pacing
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Pacing. Pacing was a pretty major issue for me in this book. This is, I believe, to be a result of way too many cogs (no pun intended) and not enough engineers to help keep them all oiled and working as one machine. The beginning half of the book felt completely fine pacing wise, if not just a bit slow, but I thoroughly enjoyed it. You had the supernatural kidnapping case, RO scenes, and the blood drive subplot. Those three things alone were fine.
Then the blood drive actually happened and things got… a bit out of hand. First things first, the blood drive halted things down to a 1. It felt as though it was a subplot that was well built up, but by the time we got to it, there were more pressing matters to get to and it felt like a subplot we just had to tie loose ends up on. Plus, I’ll be honest, this book felt like the most mature themed one yet, and the goofiness and ‘silliness’ of the blood drive was just completely out of place by the time we got to it in the story. If it would have resolved two chapters earlier, I think it would have fit in much better. Or better yet, reveal near the end of the book that the blood drive was set up by Mr. Moneybags evil guy in order to try and get some of the MC’s blood to sell off at the auction. That would have at least tied it in with the rest of the overarching plot.
Conveniently Interrupted Conversations
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Conversations are constantly cut short in this book. The council introduced themselves then immediately disbanded the meeting. Rebecca in the cafeteria afterwards about to talk about how she got assigned to Unit Bravo? Interrupted by phone call. Finally getting to tell the RO how you feel after 3 books? Interrupted by the rest of the team walking in. About to talk to M about how they feel like they need you around? They storm out before you can say a word. Invite the RO to stay with you in your room after a night out with friends so they can keep you company? You immediately fall asleep.
There were so many scenes in this book that felt like they were cut short strictly because the scenes ‘weren’t meant to happen yet’ because it’s only book 3 out of 7, but they would’ve been completely natural points to happen, and worse, they were set up to happen and then yanked away. I know this is a common trope in young adult medium, but like… every character in this is just ‘an adult’. In most of these scenes, there’s usually not even anything pressing happening. Why couldn’t I walk after Morgan once the team entered the room so we could continue our conversation? There was nothing from stopping my character from doing that at all.
I feel like what was happening in this book was that we were a cat, and the book was dangling a toy on a string in front of our face constantly while pulling it away at the last minute. But pull it away enough times without letting us interact with said toy and we just get discouraged from playing with it again. This book suffers from that quite a bit I feel, as it’s book three, and the only bit of background lure we’ve been allowed to explore is a scene with our RO’s backgrounds. That’s pretty much it. And yes, for those wondering, this also is a problem with pacing, but I thought it deserved its own bullet point.
Plot for the sake of narrative
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Plot for the sake of narrative. It is something that, in very small tidbits, is okay. But there was just so much handwaving that it got near impossible to ignore or shrug off. Just to name a few:
The MC should’ve never had that scare of having to give blood. The agency they work for was able to sneak in an extra volunteer and they have a person at the agency who can literally alter a blood sample’s DNA. I am positive they can write up a fake doctor’s note.
There is no way a seat on the council of an agency like the one the MC works for would stay empty for over twenty years. Rebecca should’ve been replaced within the first 20 days.
Wayhaven is a small town with not many people living in it. By the time we recover and get back to our office, it is said that “dozens” of missing persons reports have piled up. Dozens. As in multitudes of 12. We have been recovering for weeks. What has the agency been doing, and also, how are other international agencies not coming to aid this small town with its human trafficking problem?
I’m am very tired so I’m not going to comb through anymore, but those are just a couple literally off the top of my head that were just way too much of a stretch to outright ignore without some sort of explanation.
Misrepresentation of Medical Professionals
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Please, I implore anyone who reads this. Never, ever, ever portray medical professionals like this in your work.
I get it, the scene was meant to be goofy, but the rest of the book was at least grounded. From someone who is in veterinary medicine, not even human medicine, this comes off as borderline disrespectful or, at best, just plain tone deaf. We take oaths to help people. Literally, it’s part of becoming a nurse, a doctor, a vet, anything in the medical field. The first picture is a doctor basically saying “I hope you’re not murdered like your dad was.”
The second picture though, is what actually makes me upset. That is a nurse, who has been told that someone who fell and hit their head who now has unresponsive pupils and needs carried outside for transportation to a hospital, refusing to help said person because “they did it to themselves”. I don’t care how goofy you’re making a scene, you cannot portray us like that. Especially when you live in a country that thought the proper compensation for nurses, who were working more than 40 hours a week and risking their lives and their mental health during the pandemic, was a 1% wage increase.
We are underpaid. We are overworked. We are some of the most important people in the entire medical field to the point where hospitals wouldn’t run without us and doctor’s couldn’t do their job properly without us. Our field also single-handedly tops every other field in terms of suicide rate. It greatly upset me because everyone already has this stigma that nurses are just disposable resources that can be replaced at the drop of a hat. Any nurse that has the mindset that was displayed in this book should not be a nurse in the first place, and arguably has no place in the medical field. I don’t care if they’re an intern, even, because myself and my classmates all take our job deathly seriously and give 100% every time we put on those scrubs.
Please, at least give us the respect we deserve. The only reason people go into that field is to help others. That’s it. Many of us, myself included (in a veterinary practice), have first hand had a patient die on the table and felt like there was nothing we could do. This con in particular hit home for me. But please, again, anyone reading this, don’t misrepresent us. If you’re literally writing a comedy and everything is a joke, then that’s fine. But this just felt so… not that.
All in all, the book was okay. I think personally, it was probably the weakest in the bunch as a whole, but it had some of the strongest scenes in the entire series. I am very tired so no proper synopsis here at the end. But yeah, these were my thoughts on it.
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Ok wow, i haven’t come across these medical professionals scenes before, and I’ve played every route twice now!(male and female ROs)
How did you get that because yikes… im glad i haven’t yet…
I agree with all of this 
aside from Reese and the waiter I couldn’t care less about any of the characters but that’s just me lol
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Where does it do this? What part of Fernweh doesn’t give you useful information and/or is used to build atmosphere?
Fernweh does make you hit those story points, but I’d argue you have far more agency on how you treat the ROs than Wayhaven.
All ROs everywhere are romance tropes. Every character in every game ever is a trope.
I don’t think that’s not!Murphy, but I’m pretty sure he has either escaped or is going to, nevertheless.
M3 is, by far, the solidest piece of writing in the entirety of the Wayhaven series.
I don’t think this is the Sin scene we needed, but we definitely needed more exploration of Sin to really make the character work. I think he should have been built up to be a threat MORE before we got the “forced to do evil’s bidding” reveal.
Similarly, the Auctioneer needed more time to build up - masterminds need to be slow-burn opponents to work.
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So it might just be me, but when it was revealed that Sin was forced to do the kidnapping via soul bond, my interest immediately shifted more to the mysterious auctioneer, because i thought oh! That’s who’s really in charge and has all the power. Ok, can’t wait to see what they’re all about!
The soul bond reveal happens in the middle of the book (idk if it’s exclusive to the supernatiral research route only) and it’s not outright stated that Sin is indeed a victim yet but as a reader it was obvious where it was going. We’ve had something similar with Falk in the last book after all - and the experience hints that we’ll be able to resolve things with Sin peacefully and persuade him to change his ways. So at that point i thought okay, Sin isn’t much of a threat - I’ll just sweettalk my way through the guy. Convince him to break the bond or something. Was it just me? But the other, more evil antagonist, was still an enigma, and that built anticipation.
An antagonist whose hand is forced is an interesting premise, and i was on board until the end of the book, where (possibly due to the way i played the game) Sin didn’t really do or say anything meaningful during the auction whatsoever? I know if you’re mean to him throughout the book he’ll fight UB (which sounds a lot cooler and probably doesn’t feel as anticlimactic), but that never happened in my playthroughs due to my detective’s personality and approach.
So at the end i had a primary antagonist who’s kind of just there, and a secondary, more evil antagonist, whom i finally got to meet, and… the man’s stupid AF! The invitation to the auction left me straight up laughing at how ridiculous and stupid the villain was. He couldn’t put up a fight either due to him being a mere human. The whole climax was extremely underwhelming. Ngl i thought we’ll get to have Sin breaking the bond and fighting his master for us (and other victims) to redeem himself or something close to that. But there was just nothing. At least in my playthrough. That let me to dislike both of them tbh. What a let down.
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You learn that Sin is a reluctant participant way before that, which I’d argue is what narratively matters - it’d be different if finding out that the soulbond is the cause were important and then you’d have to take steps to break it, but the former is not and the second doesn’t happen, so.
The antagonist setup had promise, but neither the method of solving the problem nor the final resolution were handled well, IMO. This dual-antagonist setup needed two books to be handled well - let book one be about Sin and the auctioneer scoring successive big wins, with us learning about the soulbond (and how to break it) right at the end as a consolation win. Let book two be about breaking the soulbond, with about three-quarters in being a showdown between you doing the bond-breaking ritual (with the breaking requiring either a special time or super-duper rare ingredients so you can’t just afford to fail now and try again later) and agents sent by the auctioneer (including Sin, maybe?) trying to stop you, which would help sell the auctioneer as a competent mastermind. Then the final quarter of the second book could be just dealing with the auctioneer, who’s a nothingburger when confronted directly anyway. You don’t even have to slow anything else down to do this, and certainly not the romance progression, which is the only thing that matters in Wayhaven anyway.
The problem is that most readers appear to have no patience these days, so very few authors do a decent build-up* anymore. But mastermind antagonists NEED that build-up to work properly.
*note that spending narrative time on build-ups is different than spending time on fafffing abouts
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True, but Fernweh makes no attempt to make the RO entertaining or interesting, they all are just blank filler walking around.
After finishing my third playthrough, I came to the conclusion I was wrong on that statement, and so are you, Fernweh provides you just as little agency as Wayhaven.
Almost every part, but to point one out, the tree monster fight, the “climax”, not only it is boring, it drags out a lot, if fights in Wayhaven are either choose your highest stat or choose to fail, Fernweh confrontations are choose your best stat, and read through endless stream of nothing to get to the end.
In retrospect, I should have pointed out on my second comment how unnecessary most of the game dialog and descriptions are. No, I dont need to know every single detail about this room, 70% of the time I was waiting for anything to happen, because it draaaaaaaaagggssss aaaa looooot. To me, reading it just made me feel like the author wanted to make a lot of books, but had no interesting story or characters, so they decided to simply fill the game with mountains of useless information.
Now thats the only thing the game does very well, Wayhaven has a very, I dont know, “childish” feel to me, Ive never felt scared or unerved by anything, the threats never really felt treatening to me, I see the Trappers the same way I saw monsters in Power Ranges, like underpowered weak dumbasses that appear from time to time to be a bump in the road.
But Fernweh really unnerved me at some points, some of the nightmares drag out more than they need to, but apart of that, the game was quite scary (the beggining of the tree fight, when you realise the tree is alive and watching you actually gave me chills), the road never ending was also great.
And then the game trows any sort of tension out of the window, by revealing that the city council is aware of supernatural acivity (and involved in it), because we need to have a opening to the second book, I guess.
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We are just going to have to heavily disagree on this one, because the only fight in CoG games I’ve played better than the tree monster is the fight at the end of the first Pon Para.
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Got them by choosing to speak to the doctor at the blood drive and then choosing to take the guy who tripped and fell out the backdoor.
Yes, good point! It was also in the Captain’s plan, not the mayor’s.
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I think whose drive is happening is relevant, too - this was in the Captain’s plan, I take it?
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On b3's "villains"
I totally agree. All of the extra scenes with Sin and the auctioneer should have been cut in the first half of the game. I went into a storyboard rework last month sometime on this board, a way to take what was there and add suspense and focus the story more, instead of having it all over the place like it was.
The auctioneer needed a character rework. I get that it was a cartoon villain, but FFS, there was nothing “mastermind” about that douchebag. It was just stupid, pointless, and not remotely threatening. The auctioneer was flat as a board, existing only to set up the end scene with the LI… which meant nothing for M…
I mean, he dumped the auctioneer at Dezh’s feet because she chose to save the prisoners (a weird choice for her, but she’s been in emotional turmoil, so…). Other than that, no.
Sin should’ve been a slow build, too. Hide the fact that he’s forced until the building cave-in scene. Don’t have a rando supe captured, have that be Tapeesa/Vieno/Elidor so it hits closer to home. Let Sin be regretful (unless he hates the MC, at that point), say they can’t let T/V/E go, because his boss–then cut short and take off with them. When he lets them go, he does it at the warehouse, so when the team gets there, they find T/V/E, who tells them Sin let them go, leaving the team wondering wtf is going on. And Sin told them not to return to the facility, because the boss will know (all but slamming everyone in the head with the reality that there’s a mole, or moles, at the facility). Then they can start trying to figure out how Sin is being forced.
When the invitation was sent, one of two things should’ve happened–Sin warns the MC it’s a trap or the contents change to show just how horrible the auctioneer is and photos are added as “incentive” to get the MC to show. One of a beat up Addie, along with photos of people the MC cares about–Tina, Verda, Douglas, Bobby (?), Rebecca… and the LI. Or maybe just the LI, and the MC could quickly hide that.
Anyway…
See, with A as a bff, M seems to know. See below:
M doesn't deny or get pissed
His gaze shifts to the bedroom door before flicking back to Mason. “I came to ensure Nadezhda was able to sleep. I see you have done that already.”
Mason nods, leaning against the wall of the hallway. “She’s asleep.”
Worry still creeps its way across Adam’s features, so Mason sighs.
“She’s fine. Or will be, anyway.” He drags his fingers through his hair. “She’s been through way too much shit.”
“Agreed,” Adam states, a frown dragging his brows down. “The worst part is I am unsure that it will get any better for her.” He nods at Mason. “I am relieved to know she has you.”
“She has all of us,” Mason replies.
Adam arches a brow. “Of course. But you know that I did not mean it in the same way.”
“I know.” A small smile catches Mason’s lips. “Let’s just hope she’s as relieved to have me too.”
The team leader rests a warm hand on Mason’s shoulder, but only for a brief moment before pulling it away. “That is something you will have to ask for yourself.”
“It’s a shame I’m too much of a fucking coward to find out then, isn’t it?” He chuckles, but it’s weak and hollow. Fearful, almost.
Adam sighs. “I cannot say I would be any braver, so it is not something I can advise you on.”
Mason nods.
“Thank you for informing me of Nadezhda’s condition.” Adam gives a firm nod. “I will check on her again when she wakens.” He heads down the hallway and disappears down the stairs.
Mason lingers for a moment longer, spreading his hand on the door and feeling the steady rhythm of the pulse from within.
With a gentle smile, he moves away, feeling a brightness inside him that almost beats back the shadows that run deep within him.
That is a lot more than what you get with F or N as bff. And it’s pretty direct. But that, apparently, didn’t mean anything, either.
@VilsBae
That makes no sense, though. M isn’t A–M understands what “I Never” is. And the rules were explained, anyway. Either you did the thing or you didn’t. Verda kind of fudged it by taking half a shot, which M could have done, if they were “questioning”. But they didn’t–they drank the shot. So either they were intentionally jerking the MC’s chain or… well, really there’s nothing else to be here. They were intentionally fucking with the MC’s head like A does. Or, rather, the author was forcing the scene to fuck with our heads, and that was a shitty thing to do.
It won’t. The whole “M is almost there!” bullshit will be dragged on until b5, we’ll have some obvious progress only to have it retconned. Until she finally allows M to realize it in b5 or b6, but nothing will ever be said about it because M will figure it out and say nothing. And the MC will psychically “know” it.
I… don’t really agree here. Though the kidnapping plot at the beginning was good, with the missing kid, and set the tone to be suspenseful, that got dropped. After the blood drive–which was utterly ridiculous–the plot took a nosedive. I was never worried, the narrative forgot about the kid in lieu of “dozens” of missing people (in a 500-1000 person town!!), the MC’s overwrought state when the building fell on them felt forced and weird, and even the finale fell flat because the auctioneer was such a flat, uninteresting character.
Falk was interesting. Not-Murphy was interesting. Sin could have been interesting, had he been presented as anything other than an emotionless drone. The auctioneer was the most boring, ridiculous, uninspiring character I have seen in a long while. I think one problem for me is that the constant over-the-topness with everything makes it all fall flat, after a while. I just end up rolling my eyes and sighing. If it were sprinkled in, rather than dropped on us in an avalanche of the MC in constant distress (I mean the intense physical responses to every damned thing), it would work. But forced tension on the MC doesn’t equate to actual tension, and it ends up just making the MC look ill-equipped to handle life, in general.
@astronaughty
Yes.
See, had the invitation been a trap, it would’ve worked better. Like I said above, it would’ve been even cooler if the MC knew they were walking into a trap, but did so anyway because of the pictures that accompanied the dress and invitation (“Here’s some incentive, detective… either accept the invitation or someone even closer to you will be next…”), which would’ve also made the auctioneer look more calculating and less like an incompetent moron.
Better yet, have the MC and LI out patrolling together and Sin shows up and grabs the LI. Either the MC agrees to go with Sin without a fuss or Sin takes the LI. It sets up a very emotional scene either way (with the MC able to tell the LI–no matter who it is, that they love them before they are taken away), and the auction and rescue could still happen–just that there’d be more uncertainty. And Douglas or Bobby could still have been captured, to work that in.
It could’ve also set up Sin breaking their bond, with a few more interactions with him–and with the auctioneer–while the MC or LI sit in a cell awaiting the auction. Have it set farther away from Wayhaven, too, instead of in the woods right under everyone’s noses, making them look even more incompetent than they already look.
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Now that I’ve gotten to read that scene with A and M… yeah, I concede on that point. One could argue M’s understanding of “she has you” isn’t everyone else’s understand of the phrase, but that’s a pretty big stretch. The only thing I can think of to justify M going back to being kind of distant and dismissive of their feelings is because, correct me if I’m wrong, we didn’t take a shot. Granted, we weren’t given the option to, but I could see M taking the shot, having that be their admittance, looking at us, seeing us not take the shot, and think, “Well, I guess that’s my answer…”
Which is really fucking depressing and makes the MC the bad guy in the situation, which… yeah, that’s just kind of problematic in it’s own right. BUT I do still stand by my statement that M won’t actually be able to truly realize their feelings until they can do it in a non-life threatening situation. Because… well, that’s just true with anyone. There’s always a chance feelings under duress aren’t going to be you’re actual feelings regardless of who you are.
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