creep

1.5 ~ an intermission

By Yellow

rating: +20+x


Purple Wizard 102

Guides and more!
by VGamesCo


"Purple Wizard 102" is owned and reserved by VGamesCo, all rights reserved.


Opening Act 3: "Creep"

Content Progression:

Part 1: Plotline In which we discuss the actions of Isle
Part 2: Character Analysis In which we discuss the progression of Isle
Part 3: Character Faults And How To Overcome In which we clear our heads and become one
Part 4: Atonement

Plotline:

Chapter 1:

We started at the opening scene, where ze left heaven and sought out new places, but not alone. Ze brought another with hir. A parasite, a being, a creature, a something. We'll discuss that later. We don't know what the thing is at the time, but we carry along anyways. We leave the metropolis and enter the land of phasing in and out. Ze is used to this feeling, but the creature isn't. It has been many years since this happened. It's scared.

Scene A: The Kaleidoscope This is a world in between two. The colors don't work right, they just don't. The world is covered in glazing of corruption and bugs. The code breaks here, but we still need to be here to get somewhere new. It begins to collapse, but that's always happening. It will never complete the cycle. Objects float past, failed ideas and concepts of thought abandoned by the people unwilling to complete them. Everything is broken. Nothing can be fixed here. It is best to simply move on.
Scene A: Significance Before Isle can leave the opening of this scene, ze must go through this place first. The following is the gameplay of doing such. There is only one path here. The setting itself will return, but not now. We need to get through this point before moving on, and if you fail, you will glitch and be forced to restart. This setting may cause crashing due to it being so graphically filled, so saving beforehand is advised. Notably, it appears some places in this setting had their code intentionally left out, creating the setting of corruption. Whether this was intentional or not is unknown.

Player Controlled Gameplay:

Isle walks around this strange land for a bit, before the player must navigate over numerous platforms. Around them, a stream of glitched corpses lay, with multiple body parts rearranged on the body in a glitched state. This platforming is simple and revolves around jumping from one platform to the next, which numerous failsafes. In order to fail at this point, you must intentionally miss the failsafes. After this, a cutscene emerges of internal dialogue.

Note: All decapitaliziations are intentional, as the game presents it this way.

E. Isle (Aloud): Safe. Made it. Safe.

The Thing (Internally): perfect. as it should have been.

E. Isle (Aloud): Closer. Near. No turn.

The Thing (Internally): no, not this way. we must stay in this place longer. just a bit more. we can't emerge here. we need to get closer. just a bit closer before leaving. we cannot mess this up. no one can see me as i emerge into that world without you.

E. Isle (Internally): No. Please. Want to go.

The Thing (Aloud): it's not your decision to make.

E. Isle (Internally): I can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't can't okay.

The Thing (Unknown): good

After this, a more complex gameplay emerges. Distorted objects will float by while platforming and attempt to hit you. Should they hit the character, E. Isle will proceed to glitch for a moment before falling into the void. A unique death animation occurs at this point.

Transcripted version of death animation:

Note: All text comes from The Thing. E. Isle speaks only once

within this void, we lose our final light.

we dance out last dance.

the world will begin to move on without us, as we never impacted them enough to cause a stop. they won't host our corpses, for they will be too broken to touch any longer. no one will remember the ones who brought light upon their world, for that being has turned into darkness. we i will be gone.

i am gone.

there is no hope.

so let's dance. let's dance this final dance, together, you and i and hir. we can be free, unrestrained by the murderous gaze of others. we can dance together. everything will be perfect in this moment, where we embrace together.

i love you, whoever you may be.

i love you, all.

The following line is spoken by E. Isle

I love you too.

This death animation has not been seen anywhere else thus far.

Should you complete the platformer, you will notice two major differences. Firstly, the distortion will grow. The once empty code has been filled with what appears to be forced corruption by checking the source code. Numbers can be seen filling around the player. No dialogue ensues, though a universal feeling ensues amongst all players that The Thing is speaking to them personally. No elaboration has yet to be provided.


Scene B: The Corruption After overcoming the kaleidoscope, the world will not forgive you. This is a land of data loss and evil. The surrounding is filled with all sorts of 0's and 1's, neon green numbers on a pitch black world. Occasionally, an item from the kaleidoscope will pass by and provide a change of setting. There is only one path to move forward, which will take you anywhere you wish to go. This area may cause you to remember memories you suppressed for you entire life. This is normal. Walk through as quickly as possible.
Scene B: Significance This area is rather simple. After finishing the platformer from the kaleidoscope, you will be transferred to this area. This scene is seen for a minimum of 5 minutes due to the cutscene which ensues. This area serves as the biggest turning point between chapter 1 and chapter 2, allowing a smooth transition between the two.

Once entering this area, a cutscene ensues in the previous area, which resolves purely around seeing through Isle’s point of view for an extended period of time. Around 5 minutes of this ensues, where the only visible distortions are the numbers in the background flowing and the occasional kaleidoscope object floats by. Do note that these numbers and objects are very inconsistent, with no pattern being seen twice. This cutscene is not skippable.

This cutscene appears to be present to give insight to Isle’s thoughts, as ze appears to stand here to recollect on recent events and fight The Thing. This, however, is proven unsuccessful by the following gameplay, in which the player is forced to move in only one direction: forward. You cannot pause, skip, or head in any other direction during this gameplay.

After walking forward, you will be transitioned to chapter 2.


Chapter 2:

Awakening within a mono-brown hall, Isle is aware ze is in the right place. The Thing compels hir to move forward, and ze does just that. Ze recognizes this place, as it is home for hir. The Thing doesn't. It's terrified, but it suppresses these feelings deep down, so that they might as well not exist. Isle shivers. The wind is cold, but that wasn't what caused it.

Scene C: Murky Halls When you were a little girl, you went and played in the garden. The dirt flung up into the air and clumps of petals scattered around the ground, but you didn't care. You didn't have a single care in the world. When you were younger, you were so simple, so well, so able. Where did you go? Why did you leave me? We played together, we loved each other, but now you're gone. Without you, I'm just as gone as you. Please come back to us.
Scene C: Significance

The paper is torn.1

Ze takes a deep breath in. Ze shakes off the feeling in her heart. The parasite wraps its arms closer around hir heart. It needs to hold on. Ze smiles for a moment, and in a wall, carves two intersecting letters, both "A." One final breath, then she pushes forward with a new force driving her away.


Chapter 3

Awakening within a mono-brown hall, Isle is aware ze is in the right place. The Thing compels hir to move forward, and ze does just that. Ze recognizes this place, as it is home for hir. The Thing doesn't. It's terrified, but it suppresses these feelings deep down, so that they might as well not exist. Isle shivers. The wind is cold, but that wasn't what caused it.

Deep within Isle's heart, ze could recall a vague feeling of freedom, somewhere far away, perhaps in a different place, a different time. A recollection of faded memories from being in a single spot for to long, or perhaps the other way around. Externally, ze is cold because ze is afraid, but deep down, ze isn't much afraid.

Ze is lonely, even though ze isn't exactly alone.

Walking forward, a stream of consciousness tends to overcome the player, oftentimes overpowering their current senses and creating a feeling of vividly flowing in a certain direction, henceforth causing an effect in the player which leads to them questioning their own actions. Common stimuli reactions to this effect include questioning of morals, questioning of sins in life, contemplating regrets and how much action they truly had (commonly in a positive manner), and other similar actions.

Unnaturally, the scene in which the player turns at the first left never appears to make sense. The player will find themselves in a varying set of hills, each disambiguation being unique. However, there are a few common traits which show up in each vivid motion.

Scene C: World Tree By far the strangest location in Act 3, this area is completely unique to all who enter into it. A few universal signs can be seen, but the landscape varies drastically. It has been reported to be inconsistent in formations, oftentimes appearing as flatlands, while other times appearing as hilly plains, even to the point of being rocky hilltops. All universal signs are documented below.
Lolium perenne (Perennial Ryegrass) Whenever entering this area, a universal grass type is found in the form of perennial ryegrass. This indicates that the location in which the player finds themselves in is similar to England, as this species is native to England and is rarely found elsewhere. It's, rather rare being a species of grass, indication as an invasive species leads to the thematic connection that the player is an invader of the area they find themselves in.
Ophrys apifera (Bee Orchid) The bee orchid is a wildflower species found in southern England, further enforcing the idea that this location is in England. When traveling through this area, a certain sense of facetiousness comes over the player when encountering this fauna. Being one of the most selective and sexually active plants out there, it seems to be a universal break within the setting, having little to no thematic connection to anything else in the area. The only connections which made sense were those related to the mythos of medicinal powder, with its properties being unique in that they used it to cure even the worst of thirst. This appears to relate to The Thing's undying thirst for the world.
Sol (The Sun) Though not the most uncommon feature, it has shown up universally within this area. Uniquely, the sun does share traits with the mythos of Sol, with that being that it appears to be near dying out or otherwise being replaced. It has yet to not be observed.
Altocumulus (Cloud formations) When in this area, there is a universal cloud type which can be seen throughout the area. Looking similar to popcorn, a bundle of clouds can be seen occasionally around in the sky. There will always be at least one bunch, though in hilly ranges they can nearly cloud out the sun at certain points. Notably, these clouds are able to form unique patterns, oftentimes choosing to do so. Patterns observed include knives, various distorted imagery, and rarely, E. Isle.
Picea Abies (Norway Spruce) Norway spruce are native to England in its entirety. When in this area, only one of this tree will be seen, in the exact center of the area. The age is near 200 years old, with the tree being approximately 60 meters tall. When in this area, E. Isle will walk to this tree, and once touched, the scene will end. Notably, this tree species is able to stop the digestive system through chemical reactions, likely thematically connected to how The Thing has an unsolvable hunger and thirst.
Nostalgi Gaius (The Thing) Not native to England, an invasive species with unknown origin. Follows the player on their way through. Connections to Isle, though exact connections are difficult to place. Is capable of love, though love comes in many forms, oftentimes in an unexpected yet intriguing manner.
Nostalgi Gaius (The Thing) Not native to England, a species recently usurped with the area surrounding it. Disconnected from Isle but still has ties, oftentimes appearing in strange manners. Filled to the brim with girlish hatred.
Nostalgi Gaius (The Thing) Native to England, once a female british colonizer. Appears to have moved to new goals, in that being Isle, various landscapes, glitches, and you.
Nostalgi Gaius (The Thing) Hates you
Nostalgi Gaius (The Thing) Loves you
Nostalgi Gaius (The Thing) Leave me be please
Nostalgi Gaius (The Thing) me
Nostalgi Gaius (The Thing) you?
Nostalgi Gaius (The Thing) I remember that day, March 13th, 2019 20 1986 now 18. The area was "clean," if your definition of clean matched that crusty town. The area was barren, piles of toxic ooze flowed around the area. Calling the town "alive" was generous. There were people, but the people there weren't friendly. Even the area disliked it's own visitors. Grass Snakes which managed to possess teeth bit at the first opportunity, long shoots of weeds littered the ground, scratching any vulnerable skin. Looking up into the sky, you could see towering mauloseums.

That was home back then, wasn't it? The mesas in the distance, filled with beautiful shades of maroon and deep orange covered the horizon, and any stray sand specks filled our eyes with stray tears.

I remember that old town. Reminds me of you. Reminds me of me, even. Perhaps, maybe, it reminds me of us.

Maybe that's speculation, false hope, whatever they call it.

I need a drink.

Have fun, and remember what I told you.

The world isn't just a sum of all the right answers, Isle.

Remember that for me, please.

Nostalgi Gaius (The Thing) Invasive species. Unknown origin. Unknown motive. Incorrect. Currently held in the host body (debunked, sort of) connected to E. Isle
Scene C: Significance This area serves to help engage the player back into a unique environment. The game wants you to feel welcome, to feel free, to feel like they are at home. They want you to feel nice to be somewhere different. Why don't you let yourself just be somewhere different? Why don't you let yourself be wherever you are?

.

Nevermind.

Not like it's important anyways.


Chapter 4

I just want you to like me, if I'm being honest.

Everyday, when I see you look out for me, with love, with hate, with any emotion at all, I just want to be able to love me like you love me.

I woke up the other day to the shoreline drifting across the seabed. It didn't splash terribly loud, only just loud enough for me to recognize and respect the sound of the waves. I went down to the shore and found a turtle, crawling across the ground as if it were running. Slowly making its way to the sea once more.

I followed the turtle out for a bit, keeping my distance as to not startle it. It worked so hard, a whole hour of walking, just attempting to make its way to the smooth waters. Then, the waves began picking up. Eventually, the water splashed onto the turtle, causing it to flip over onto its back. The water went back, and then came a storm. The turtle flew around the area, whipping up sand in every direction. By the time the storm ended, only then did I notice it has been 4 hours, and my clothes were soaked in sand and seawater. The turtle stopped moving.

"Oh well."

The only thought that came over my mind.

Oh.

Well.

That kind of reminds me of you, in some twisted and fucked up way.

It's so dark tonight.

Please, come to me, come back to my home. The edge of the sealine, you know which one, the only house for miles upon miles. Two stories, a porch facing the seas, and one magnificent skyline.

I'm here for you,

Let it out,

Just, talk to me.

It's been 5 days. I know you have my letter, and I'll know you'll get this one.

Please, I want to get to know you, and I know you're not doing well.

Earlier today, you stumbled into an area filled with carnivorous fauna, and you were the only food in miles. Everywhere around you, I know you could feel their beady eyes on your legs, your stomach, your eyes, your heart. If you had made one mistake, you would've been gone, and likely would have never returned.

You make me feel so light, so free, so special. I wish I was special, the way you're special. I can't be though, because ultimately, I'm not that way. I'm a creep. I know so much about you, yet we've never met. I know what you're going through, and I want to help you. But I can't help you unless you let me.

A little friend of mine came to me today. Her name isn't important, but she's been with me for a while. She isn't much of a "friend" per say, more of a strangely parasitic being. I spent so long thinking that we weren't meant to make contact, and that I needed to dissociate myself with it as soon as possible.

Then, I learned, all things have purpose. I don't know why I was given this creature, this friend of mine. I do know one thing. I can't let it go, not yet, at least. That doesn't make me any bit special, it just makes me feel closer to you.

Please, please, just come to me. I can help you. I don't belong in this house, but you do.

This is your home, and I built it just for you. We can spend all our time together, and we'll always have company.

You're just my angel.

Please.

I know you're getting these letters, so I might as well make due with them.

Today, I didn't wake up to any noise, any sound, any external influence. For the first time in an unknown amount of time, I was able to wake up on my own volition, when I wanted to. I felt so well rested, so very very awake. I only felt free at that point, and so, I took my stand, and then immediately felt a weight covering my whole body.

My whole body felt crushed, and that was only the beginning of the pain. After such, I felt a resurgence of memories and pains from times I can never know fall on me. Billions upon billions of years of despair fell onto my body. Death, famine, blood, lust, sin, murder, rape, every little pain covered my body as if it was always on me, and simply left for a bit before returning.

However, the worst pain came from a little point in time.

The Thing held my hand at the beginning, and told me to simply sit still and wait for her to come back. I was so naive to think it would return so quickly. I sat there for eons, millennials, so much time. Watched everything unfold around me, and as the world fell into despair, all I did was stand perfectly still, like a perfect little child.

Isn't that a lovely concept? Isn't that simply so cool? Isn't that such a cruel fantasy to put onto someone?

Then, I felt alive once more. I walked over to this desk and started writing this letter. Now here we are.

Come home, please, come home.

Come inside.

Let it out.

Talk to me.


Character Analysis

Isle has persevered and faced many challenges both before and during this act. Throughout this act, one common theme can be recognized and respected in Isle: a determination and a fierce will to try to die.

Does this mean Isle will die? No, of course this doesn't. In retrospect, considering the idea that Isle will die in act 2 was a very poor choice, as it directly contradicts the way Isle is characterized in this setting. Isle isn't just another creature, like The Thing. Isle is a living, breathing, human being, even if that is hard to tell. This is further proved by the various pieces of writing attached from act 2.

For reference.

Pretty Little Palette Girl


(Verse 1)

Starlight
Gaze into my eyes
I see those same sparkles
From that blueberry sky
The clays of maroon and indigo
You grab a stray rock
Throw it off the cliffside
And it almost made me cry
To see you threw your color
Off into the freeman's pride.

(Pre-Chorus)

And when you pulled me in close
Smelling the tang of your sunshine stained clothes
Seeing the stains of the sea tangled in your hair
The wind brought tears to my eyes

(Chorus)

Cause' when you scream my name at 4:00 A.M. in the parking lot
And I scream right back cause' my prides been shot
I stare into your loving eyes
And forget I ever loathed you
For when you give me your rainbow gaze
I feel the most amazing
And when you show me your colors
You're my Pretty Little Palette Girl

(Verse 2)

I feel so lonely
Dark as a night sky
But you're here with me
My neon orange lamplight
And when you grab my hand
Colors course through my veins
And I want you to look at me forever
Cause' you're one-of-a-kind

(Pre-Chorus)

I saw a light
When you walked into my life
A flicker, a dash
And then a dimmened slash
Not good, not bad
Purely light

(Chorus)

Cause' when you scream my name at 4:00 A.M. in the parking lot
And I scream right back cause' my prides been shot
I stare into your loving eyes
And forget I ever loathed you
For when you give me your rainbow gaze
I feel the most amazing
And when you show me your colors
You're my Pretty Little Palette Girl

(Bridge)

When I see your lovely face
I need a 12 stepper to recover from my addiction
I pulled out 11 strands of hair
Just thinking of how you're a 10
In my eyes, even when you're simply leaving at 9
You make me smile, and you ate my heart
They say 7 is lucky
And to check your 6
But I look through my 5 fingers
And through the 4 slitted lens
I see your face split in 3
Your 2 beautiful eyes
And your 1 you
And I truly shut down to 0

(Chorus)

Cause' when you scream my name at 4:00 A.M. in the parking lot
And I scream right back cause' my prides been shot
I stare into your loving eyes
And forget I ever loathed you
For when you give me your rainbow gaze
I feel the most amazing
And when you show me your colors
You're my Pretty Little Palette Girl

(Epilogue)

You're my Pretty
You're my Girl
Your my Pretty Little Palette Girl
Pretty Little Palette Girl

(can i still love u) — an interlude song


(Instrumental)

(Verse)

You only give me your eyes once a millenia in this broken universe
Yet I only hold myself to you
And if I could just have one more chance
I could learn to love the way you do

(Chorus)

I want to respect you
And I'm sorry I hurt you
So I'm asking only once
And if you don't respond, that's fine
All I want to know is whether or not it'd be fine
Can I still love you, this one last time?

(Instrumental)

(Bridge)

And I can't stop thinking of you
And I can't stop wanting to be with you
And I can't stop thinking of you
And I can't stop wanting to be with you
Can they see me crying out
Can they see me crying out
Can you see me crying out
Can they see me crying out
I see me crying
I see my tears

(Chorus)

I want to respect you
And I'm sorry I hurt you
So I'm asking only once
And if you don't respond, that's fine
All I want to know is whether or not it'd be fine
Can I still love you, this one last time?

(Instrumental)

(Epilogue)

Verbally spoken

I don't want to just be another memory to you
I don't want people to see me as your problem
I just want to savor this moment

(Pause)

I'm defined by my love for you

a cute little problem


(verse 1)

Alex woke up to the sound of water flowing, it was raining
his ten-by-ten chambers holding him closed
Morina was the lower class heir to his posterity
all the school said was "how did she do it?"
the dances were tasteful, if a little tame
boxes of candy hearts strewn about
the hideout was quiet, only a little 'lone
he cut his hair, then the world went and blamed her

(chorus)

and they said,
"look at her go, she's a cute little problem
who knows what would've happened if she would've hid away
rejection is hard, but committing to it is harder
and everyone loved when the world crumbled alongside her"

(verse 2)

Alex packed up and moved away
hid in the back of a class, kinda funny
shared a laugh with the big names, kind of lonely
while Morina hid in mystique
losing her heart in a crumbling spire, like fake honey

(chorus)

and they said,
"look at her go, she's a cute little problem
who knows what would've happened if she would've hid away
rejection is hard, but committing to it is harder
and everyone loved when the world crumbled alongside her"

(bridge)

they said "where did she go"
disappeared from the earth like disinformation
spread about her mystique
she hold her dignity to a man who she didn't perceive
a billion years is a long time
but vermillion city is awaiting 4 year old me
and when she learned about me
she let go off her everything

(chorus-overcomed)

and i said,
look at her go, she's a cute little problem
who knows what would've happened if i would've hid away

(outro)

i loved watching her leave
such an amazing time
bringing her end to everything

These various acknowledgements to the current ideals and perspectives of Isle show that the contributions of Isle are significant enough to not contemplate the ideals and ideas of death, henceforth proving the idea that Isle exist in a strange state of limbo in terms of "immortality."

But what truly "defines" immortality in this setting. it's been debunked through other methods that death of the immortals is not only possible, but oftentimes plausible, as the sheer force of power required to hold the life fibers of immortality together oftentimes collapse under the weight of grief, misused power, and general inconsistency with the surrounding, already broken area. Further displacement of matter is not beneficial in this setting. Of course, this doesn't mean that this doesn't occur at all, as The Thing is living proof of that matter.

Isle appears to be a vessel for the power of The Thing in this setting. Isle merely serves to exist in a way which The Thing can take advantage of. That brings the question, once again of course, of what exactly the thing is.

The Thing cannot be classified on the spectrum of "Deity" or "Goddess", as she transcends the standard barriers put in place for that terminology, specifically, the clause that those invested in it must see it as flawless in some form. "goddess" with a lowercase "g" may apply to this scenario, but ultimately, The Thing is much stronger in that regards, simply not in the same way. Beyond that, The Thing is largely classified as not human, yet not holy either. Despite this, The Thing has no problem finding host bodies, requiring a binding experience which must be conducted with some form of consent from the host. The Thing, however, is repulsed by all host, before and after the transformation, which all circles back to Isle.

Why did Isle let her into hir body? Why would Isle, a sensible explorer, choose to make this decision with such courtesy? Their must have been a willingness, perhaps a feeling of wanting to escape the life ze found hirself stuck in? Perhaps ze saw it as an escape, though that doesn't make sense because ze knew about The Thing better than most would. So why, why, why did ze decide to go forward with this action?

None of it really makes sense, does it? Heh, the pure fact that it doesn't make sense honestly ties the whole thing together, at least in my opinion. It makes Isle seem so distant, so misunderstood, yet we as people cannot understand hir. We try, try so hard, just to understand one solidarity person with problems incomprehensible to even them. We end up obsessing with solving those problems, and eventually, we circle back to where we started: blacked out on the floor not knowing how we got there in the first place. What kind of shitty theme is that, life cycles itself? Perhaps there isn't any theme to be given here.

Perhaps it is simply hell on earth.

You can't call it earth, though, from my experience.

Scene D: The Beachhouse The second floor of a house facing the beach, we found ourselves in a strange place which can only be defined as "heavenly limbo." The sky is a deep sunset shade at all times, the waves are always gently swaying, despite the lack of a moon. The sand is coarse, though if you look closely enough, you can see it isn't minerals, but rather, encoded textures. The house facing the waves sits behind, and strangely, trying to look beyond to the horizon is impossible. It isn't perfection, but it's nice to hear the calming waves behind you as you admire the home. Beauty is a fickle idea, and capturing it in a limbo is difficult. Everything is still, take a moment to admire it.

cry about it

A short filmography scene by E. Isle


Players

E. Isle: the 1, not forgiven
The Thing: out of sight, still in mind. only heard by isle. the one who forgives
Daryll: unexpected visitor, unaware
you: watcher, not forgiven

Lines in bold are the recipients line. Lines in italics are not spoken by anyone, and are meant to be context.

Time: Clocks are broken, time is but a social construct


Prelude: we find ourselves in an already described location, but the wind is picking up. The dialogue continues from there.

E. Isle: Heh, finally found some room to rest, and you take it immediately here. Typical

The wind begins picking up faster, whipping back Isle's hair.

The Thing: Now, why now, of all times

Isle stays silent, the wind whips, and a man (Daryll) emerges from the water.

E. Isle: [Surprised] Not quite what I expected, why would-

The Thing: Who may that be?

Daryll walks towards the beach house, noticeably being observed by The Thing, though Daryll cannot see her.

E. Isle: How quaint.

Daryll: [Quitely] The house is occupied by them, [Do not speak, mouth gibberish].

Both E. Isle and The Thing are unable to hear Daryll, but The Thing is still aware of what was said, and immediately begins to approach Daryll. Daryll is still unable to see The Thing.

You approach The Thing and pull it back, seemingly not wanting Daryll to die just yet. The Thing is unable to fight back, and as such, is pulled helplessly by you.

Daryll: [Still unaware of the presence of The Thing, quitely] Ze's home, I just don't know how to get inside. The door isn't locked, but like, I just can't quite muster the strength to walk through the door.

You let go of The Thing and tie it down to the ground. You forcefully push Daryll to the door-

Daryll: I don't know how to get inside, I just can't quite make it in. Everything is telling me no. Screaming in my head, screaming in my heart, screaming everywhere, all the time, no, no, no, I mustn't intervene. I have my place. My place is in the Juniper groves, the palaces of the oasis, the greatest showman's mansion, not a beach house on the side of the road. I do not belong, I am to imperfect for perfection's limbo. I'm going inside.

You continue to push Daryll towards the door, but is this really what you want? Why do you want Daryll to go inside? What does Daryll gain from going inside? Why does he want to go inside in the first place? Why is Daryll even here? Nasty thoughts. You put Daryll inside, and Isle approaches.

Isle: Wh- Who are you?

The Thing: Do not succumb. He twist his words and manipulates those into dirt, he will try to save you, but you do not need saving, right? You have me. (You said no) [Audibly silent]

Daryll: Isle! Isle, Isle, I- I'm here to help you.

Isle: [Visibly conflicted] Save me? Why would someone I don't know do that.

You try to force Isle to say something else, but Isle seems to not listen to you. The Thing smirks, as if it was hoping this would occur. The Thing is still pinned to the ground, and Daryll remains unaware of its existence.

Daryll: I- I don't really know, actually. I don't even know who you are. This isn't some sappy story where everything works out, hell, I don't even know why I'm here.

I was born in this living hellscape. I had nothing to compare it to, so I've always seen this place as "normal", whatever that is. I think if I went to, well, where you're from, I wouldn't fit in well. I'm not native to where I'm meant to be native to.

Does that make me strange? Do I not fit in? My whole life I have been adapting to a hellscape, when death comes easy for those who ask. I, truthfully, want to go home, but I've never known a home. What do they say again, "home is where the heart is."

Where is my heart? Where is my home?

(You said no)

Daryll: Because, well, because, you're important. I need to save you.

Isle is silent for a moment, considering the response, before walking past him onto the sands. Isle's bare feet sink into the sand for a moment, before ze walks towards the sealine. Ze sits down beside the sealine, with only hir toes dipped into the water. Daryll follows, albeit slower.

Daryll does not speak You told Daryll to speak.

Daryll: Can I take you home?

Isle: Earlier, you said I'm important, right?

Daryll: Well, yeah, because you are.

Isle: Says who?

Daryll: You did.

Isle: Never once have I claimed that.

Daryll is very confused for a moment, before he eventually is startled by the sudden appearance of The Thing. The Thing appears and promptly makes Daryll leave. It is invisible how, but Daryll did leave. The Thing stares directly at you.

The Thing: Quite charming, what you want. I don't need to listen to you. I have me.

You: [Nothing]

Isle: [Nothing]

The Thing: Goodbye

The Thing waves with a curtsy. You disappear into thin air.

The Thing doesn't care what you want.

(CURTAIN CALL)
(THE CURTAIN CLOSE, BOWING)
(FIN)

Scene D: Significance

The beach house holds a major course over the development of Isle, as it helped to develop the storyline between Isle and The Thing, with no such intervention to note between any other force or person. The beach house was exclusive to Isle and The Thing, no exceptions. There were no exceptions.

There were 0 exceptions.

I said so

astronomy.・゜゜・  ・゜゜・.

i awoke


you stood


s t
a
r
i n
g

at me, only

m e

… …

. .

and for that one moment

i felt like a human

or perhaps not?

???

maybe, just maybe

it was nothing but a…

d r e a m ?


Chapter 5

Scene E: space starlight, fractures of planets, various existing planets all coinciding with one another. debris. floating debris crashes one into another it exist it real. high in the air above the sky. way beyond the visible imagination. free. almost like home. one day home will real. maybe. perhaps. maybe nothing at all. tear it to the ground with a glance of the eyes. not here. we are not here. different place, different time. not this world, another. we cannot see, but we can comprehend. calculate, understand, know, boring. rejection. loss. famine. death. i collapse.

To feel the
Warmth within
Those kindled flames
Lighting up
My stone cold
H e a r t
Which builds the ceramic
Plated walls

I open my
Eyes; feel
The snout, love
Feeling it,
Those gated flames
W a r m s
My very gentle soul
And falls

Along those lines
Of smoke,
Everything in that
Single moment
It almost feels
L o v e ?
Or perhaps it's nothing
Just hate

A mere facade
Hiding truth
Wanting to believe
A lie
It was just
A l i v e
In my hating brain
Leave me

Love// and \\Hate
Life// \\Death
Opposites of Neutrals
Forcing comprehension
Will you just
M a r r y
The shreds of thoughts
You hide

Cry about it
She says
Cry about it
I will
I try to
F a i l ?
I sit without emotion
A freak

She said no
Not one
It doesn't help
Champagne dreams
Pour a glass
D r i n k
The somber pain away
Fake tears

Place a brick
Then two
Place onto the
Soot ceramics
And as they
C r u m b
And break apart; harmonize
With calamity


For a calamity is nothing but a dream we all have

Play your piano

It's something you have


It's Apart
Astronomy, Two
We're
Worlds


Scene E: Significance

Incorporating memories into your head is a fickle process difficult to master. Subconsciously, it is done often. Burying your own memories with memories made up by your imagination is a common action your body undergoes, henceforth promoting the idea that yes, your memories can indeed be self altered. However, in order to truly change your own memories into something else, you must be able to completely forget the initial memory in the first place, one of the most difficult things to do willingly.

Something Isle needed to master at the time was forgetting those horrible memories ze had. Ze didn't know how, so ze tried everything ze could just to suppress them away from hir, even just for a moment. Trying to bury the ideas of hir head somewhere where ze couldn't see them, well, ze would do anything for that. Ze pushed and pulled against hir own head and ended up feeling something strange. Something almost like home, just stretched to its limits. Somewhere close to a place ze recognized…

Just far enough away that ze couldn't feel the same.

Sometimes, I dream of calamities.

Great, monstrous events of catastrophe on a colossal scale, surely it'd be something I'd grow to hate, despise, and want to destroy at any cost. Such an event changes the course of life completely, and for some, causes the long lived life to end with an abrupt end. With such a steep price for no reward, you'd think everyone would grow to hate these events. Hatred with a burning passion, for these calamities tear at the fiber of functions and destroy those silk-webbed threads.

Despite all that, there is little more shiny to me then a calamity. The idea that every little detail has to fall perfectly into place for such a monstrous yet intriguing event to occur; I can't get enough of that if I'm being honest. I love the destruction calamities create, I love viewing them through my silver refined lens, and most of all, I love seeing the after effects ripple and burn.

Perhaps that makes me strange, just maybe. I like to think that I'm just seeing the world through an altered lens, like a werewolf seeing spotted mounds at the touch of silver flurrying into their head, compounding the pain they are going through and making the world feel that much more violent. Violence itself is a piece of beauty. The dance of curved knives attempting to penetrate the silky smooth skin of another, it's- it's really the only way to truly visualize the sheer amount of love present in those moments.

Have you ever considered the idea of creating a calamity? Just imagine, only for but a moment, creating the masquerading forces behind something so beautiful, yet so atrocious? You have to lay the seeds of the violence, silently planting and growing the tension, before one day, the flowers of blood reds bloom, then everything begins to collapse. The collapse of ideas and creations, I find that beautiful.

Maybe, just maybe, one day, we can do that again.

Wouldn't that be just beautiful, Isle?

I sure do think it'd be beautiful, at the very least.

You know what.

At first, I didn't consider the idea of catastrophe to be beautiful. Good must always fight evil, and good must always prevail. It used to be the philosophy which defined the way I fought in life.

These days, though, I tend to excuse myself from such trivial pleasantries. I enjoy savoring the moments of destruction.

I think it's ultimately in human nature to enjoy such actions, as going through with them causes adrenaline to rush through my veins, so surely it must apply to others. I enjoy that feeling of sudden rushes, it makes me feel so alive.

Maybe that's a change inspired by something other than human nature, I suppose.

Maybe it's just a little nagging feeling in the back of my head.

When my fingers sway across the keys of the grand piano of life, I can only feel contempt, knowing that even if I mess up, no one will truly witness my mistake. They will simply glance before moving on.

A dance

I'm a special girl


Character Faults And How To Overcome

Trying to compare the faults and traits of Isle throughout hir progression in this act is easy, but discussing the flaws is much more loosely connected. Isle makes many mistakes in this act, but ultimately, these mistakes are left up to chance and the controlling host of The Thing. By that logic, it is much more difficult to put any firm precipice up for why exactly.

Why exactly.

Why.

Fuck you,

I didn't have it in myself to go with grace.

Whenever I stare at you from a distance, I can't stop. Every time I see you, all I feel is emotions upon emotions rushing around and around in circles that I just can't put to sleep. When I look at you, my head becomes a crystalized rose, something so loving, yet so fragile. I can't handle the way you turn my head, making me spin round and round in circles until I physically can no longer breathe.

Please, just, just stop. Go away. Leave the chapel in flames, let it burn behind you and beg for it to be saved. Watch my tears flow down my cheek, ricocheting across the gentle layer of my body. Turn away and leave it in a glorious flame. Please, just, just leave. I'm sorry this isn't the most graceful and loving note, but I genuinely cannot handle this anymore. I'm losing sleep again, and I can't be having that now. I was doing so well, but your mere existence is destroying me.

I'm crying tears that bounce across my body. I want to stab you in the throat with a elongated sacrificial knife, tearing it up until your head splits into halves and your brain matter flows across the rays of time. Please just, please stop it. When your around, I can't help but feel such a high, but the moment you leave, my body feels like it's experienced a thousand knives slowly slicing through my delicate skin, leaving little, bleeding marks which refuse to go away.

Wouldn't you love to have that feeling? SImply walking in the presence of someone makes your entire body feel like a corpse beaten into the ground? Isn't that lovely, isn't that so very pretty. Feeling your bodies pull apart as conflicting interest pile atop one another into an amalgamated monster. Matter in your own body feeling like it will topple and collapse once you sight a single person. Revolving your entire being for the existence of another who doesn't recognize your existence.

Maybe you have that feeling, hell if I know. All I know is I'm this close to crying.

Perhaps I'll even send this one, and won't throw it in the garbage or plaster it onto some wall like all the others.

With hatred

Isle experiences severe issues throughout this chapter. Colloquially referred to as the "yeah i snuck out through the porchlights" chapter by Isle, this chapter shows progression in a unique way. The most effective way this chapter does this is by keeping me.

Keeping me.

me.

miss you


(verse 1)

i sat away from our table today
you didn't notice, and i'm sure you feel free
you heard from Siphilia, and she doesn't say much
but when she does, you know she tells the truth

(pre-chorus)

everything you heard, it was true
i know you can't forgive me
for loving the one
you love to

(chorus)

if i sat across from you
would you forgive me
i know i did you wrong
thinking i could get in the way of what's yours
even if they aren't anyone's, anymore
all i've ever wanted from you
is to hang out with you
because you know i miss you

(verse 2)

Morina, i already know what i did
you were holding on by a thread
they said no to you, then i let them catch my eye
and now i'm making you want to die

(pre-chorus)

everything you heard, it was true
i know you can't forgive me
for loving the one
you love to

(chorus)

if i sat across from you
would you forgive me
i know i did you wrong
thinking i could get in the way of what's yours
even if they aren't anyone's, anymore
all i've ever wanted from you
is to hang out with you
because you know i miss you

(bridge)

i was walking home, laughing at what you once said
when they pulled up and around, pretending they didn't know i exist
glancing my direction, making me flutter
an amalgamation of everything i hated in me
they pulled up and i couldn't stop
even after a bad haircut
i still let them make me feel free

(verse 3)

Morina, i'm standing here, looking at you
i've been lonely for this long summer
nobody to see, wanting to speak to you
and i've been practicing in my head, what i'd say
trying my hardest to muster up the strength
to tell you the only thing on my mind
…it wasn't you

(pre-chorus)

everything you heard, it was true
i know you can't forgive me
for loving the one
you love to

(chorus)

if i sat across from you
would you forgive me
i know i did you wrong
thinking i could get in the way of what's yours
even if they aren't anyone's, anymore
all i've ever wanted from you
is to hang out with you
because you know i miss you

(outro)

making me laugh everyday
giving me every say
waiting outside the library
missing you

perhaps i'm not that bad after all.


Chapter 6

Scene F: the table outside atop the grasslands

Dipping my toes into the silky smooth dirt, it feels so similar to the coarseness of the beach. Running barefoot on those grounds, it brings a familiar nostalgia to my eyes; remembering the events of my childhood. Tears begins rushing to my eyes, but I resist them, gulp them down into the pits of my lungs. I take a fresh breath of air, and the taste of it is so clean I gulp and gasp for as much as possible, purely to get them feeling that feeling for as long as possible.

The wind sways gently across the cobblestone paths, trailing pebbles onto the dull grass blades. Holy pines burst out the ground and reach to the sky's limit, reaching for the cumulus clouds oh so far out their reach. They intertangle and create a mystical veil for those approaching the ovaled grove. A feeling of home reaches the eyes, and one loses themselves to escapism in its mist.

The sugar-textured table made of refined cobble is jutted roughly into the grass, causing it's spikes to intertwine into its molds. Once you sit down, every direction is filled with fields. All of a sudden, you cannot remember where you came or where you're going. All you can see is those grasslands. A mysticism overcomes the body, and I nearly faint.

Scene F: Significance

not everything needs to be important. it doesn't need to be nice, relevant, pretty, it simply must be. let me be.

please. please don't give me purpose. that'd be the worst choice.


atonement

now wouldn't that be nice.

you know what you did. you can't change it. yes, you. this story doesn't exist without you reading it, and yet you read it.

all that pain, you read it, you made it.

you can't atone for that.

or am i still speaking to the imaginary thought processes?


who am i speaking to now?



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