They Are Siblings For Me.

🍽️🥩 HAPPY 1ST ANNIVERSARY OF DEAD PLATE 🔪💔

Thank you for all the love and support over the year, the studio couldn't have gotten this far without the amount of attention given to this game and we are extremely grateful that many people care about these characters and their story 💞

To celebrate the game's first anniversary, SURPRISE! A small bundle of Dead Plate exclusive merch is coming soon, set to be announced & released sometime this month! Stay updated :)

https://studioinvestigrave.junipercreates.com/

love trio christmas card :3

merry christmas to those who celebrate !!!

when you hear the premise of saiki k is "a loner boy with amazing psychic powers is constantly hounded by people desperately wanting to be his friends" its easy to assume that its because they think his powers are awesome, but... they dont even know about his powers. they just all love his autism swag so much that theyll start crying and screaming and throwing up if hes not around

one of the hardest parts about being a demigod that isn't talked about enough is learning how to blend in with mortals. yeah, you look the part. but can you act the part? case in point in cotg when percy reveals he has to consciously swim slower when around mortals. but what about annabeth who has to physically retrain herself from engaging in a fist fight bc she knows she can clock them easily and can't afford to get expelled again. or grover who carries iron pills because he can't just chomp on a soda can during gym class. the implications of demigods actively downplaying their god given abilities so they can remain hidden is a concept worth exploring.

new obsession acquired

I've always wondered why the Romans think demigods all of a sudden started getting claimed? They couldn't know about Percy's deal with Olympus, so what do they think happened?

The gods were probably like "as a reward for fighting in the war we will now claim you all!"

The Romans were probably pretty proud of that.

Then like a year later this conversation happens:

Annabeth: and then after Percy made the gods promise to claim all their children-

Jason: THAT WAS YOU?!

Percy: yeah. Why did you think the god suddenly started claiming everybody?

AU Where the Justice League forms as usual except for one slight difference where Bruce just so happens to have been the one superheroing for the longest. (Excluding Diana, who got up to it in World War 1 and then mostly didn't while she learned about Man's World)

Bruce helps form the Justice League, ignoring all of the comments as they come to the sudden realization that Gotham's baby cryptid story is actually a man in a very intimidating armored suit who can and will break your arm if you cause problems for him. They are unaware that this is not the first team he's led, and actually he's used to teams full of mostly teenagers who also happen to be his children. This should be easier, this team is primarily adults.

He realizes rapidly that he doesn't understand these people.

His kids take bonding activities to mean learning a dozen different ways to break someones leg. That doesn't fly with these people. And that is most of Bruce's ideas, hell when he was a kid Alfred took every opportunity to get him out of his room and mostly that was with the agreement that Alfred would teach him how to defend himself. He's come by it honestly.

This team is not easier. They have more drama than when his house was actually full of kids. It's insane. He doesn't know what to do with it, usually he just sent the kids to their rooms or grounded them from patrol. That doesn't work here.

He comes to a strange crossroads. That falls apart when he forgets who he's working with and snaps at Hal with a full room of heroes that the next person to throw a punch or an insult without a reason too will be sparring with him.

A long standing rule in the batcave that worked two fold to prevent infighting between the kids and too ensure that they were well and truly trained.

It works wonders. No one says a word out of line for the rest of the debrief. Bruce becomes the unofficial mediator of the league over Clark because anytime he walked in on a fight it suddenly became 10 times more civil out of sheer terror of what he'd do to them in a sparring match.

Eventually they actually meet his kids. Well, one kid.

Half way through a mission (one of the rare ones in Gotham) the Bat comes to a complete stop at the edge of an alley. Every single league member on the team comes to a stop behind him. Slowly from the shadows of the alley a man in a red helmet stalks out to greet them.

"You don't call, you don't write"

"Red Hood."

"Don't Red Hood me! We've been worried sick!"

"I was at the cave last night."

"You didn't answer my texts B. You always answer my texts."

Somehow it ends with big and scary following them through the rest of the mission with a running commentary of how much Bats has let him down in his failure to respond in a timely manner to a text send less than an hour before he ran into them in the alley. It only ends when Red Robin shows up.

And even then it only ends because Hood can't keep himself from throwing a punch and Bruce has to snap at him that if he throws another one they're sparring when they get home.

And by god is Jason giving up the chance to punch his brothers.

A funny thought just came to me, so here's a new writing prompt:

The Justice League doesn't think that Batman has a civilian identity. For the most part, he only ever comes out at night, adding to the nocturnal rumors, but he has been seen during the day when there are huge problems or bigger rouge attacks.

And, because the JL don't think he has a civilian identity, they naturally assume that none of the other Gotham Vigilantes do, either. Signal, the only consistent day shift, is obviously a different breed than the rest. All of the others are nocturnal.

Extra points if they think they're a group of cryptids.

One day, Bruce and Tim are needed to help set up at WE for a press conference. One that Lois Lane is covering. At the same time, the JL Is having a meeting. Normally Dick would put on the Batman suit, but Nightwing is needed at the meeting, too. They can't say that Batman is off world, because all of those trips are logged and followed by the Lanterns. So, the next logical thing to do is for Nightwing to tell the JL that Batman and Red Robin were needed as civilians, but he will make sure to pass the information on to them, as well as record the meeting.

"Batman doesn't have a civilian identity," Is the response he gets. "None of you do, right?"

Nightwing, for all his training, doesn't react outside of his smile getting slightly bigger. "You don't think we have secret identities?"

"No, we kinda just assumed you all just hid away in a cave or something when you weren't needed or on duty."

Oh, these sweet summer children. Nightwing is trying very hard not to laugh at them. "We, we do have secret identities, we don't do nothing when we aren't in costume."

"Are you sure?" That's the Flash. "'Cause I'm pretty sure we'd recognize you guys out of costume." Kudos to him for being so confident about that. "Most of you only have tiny masks over your eyes. That's not enough to cover an identity."

Nightwing takes a glance at Superman, not that anyone can see his eyes move behind the domino mask. The alien's eyes have shifted left.

"I've been to Gotham plenty of time," Green Arrow speaks up, "I know I haven't seen everyone in the city, but I'm pretty sure I'd recognize your build. It's pretty distinct."

Bold. All of the Wayne Clan have met Green Arrow in and out of costume. They've actually met most of the JL in and out of costume. Should he tell them? Nah, that's not funny. He can't wait to tell the others.

it's not going to let me rest until i write about it, so tonight I want to talk about the TSP2 Expo in Ultra Deluxe, and why it's a thing at all, and what it means about the Narrator, and how deeply self-conscious he is.

The Expo is, and I say this without exaggeration, the Narrator's deep, desperate need to respond to the audience and the reviews from the Skip button ending. They say he's not funny; he makes "a whole lot of gags". He's still reactionary, he makes all of this in response to (and in my mind, in the downtime during) the Skip button, and it's the first thing you can find right after the game resets from the Skip button.

He's not over it.

TSPUD in general is in a big way about the relationship between an artist and their audience. (i swear on my life i've written those words before...) it's about how a creator can and does create for themself but does, on a real level, yearn for an audience to understand and appreciate, while also being scared that people wont get it, and also being scared about "needing" a reaction to begin with.

Create for oneself, sure, but you still want people to like the thing you made. You want them to experience it, this thing you put so much time into. You want them to laugh at the jokes, that's why the jokes are there, and you hope they hit right.

Elements of that have always been in TSP but they're at the forefront of TSPUD and especially all the Expo stuff. Even while the Narrator, in Skip button rants, berates the audience for wanting jokes and gags and bits to distract them, he immediately wants to please. He's yearning to be understood, and he thinks if he can just give the people what they want, then surely they'll find the meaning in his work.

And then there's that darn Bucket. And while the Bucket feels like, at times, a stand-in for the Narrator or a way for him to project, it's easier for me to see him trying to frame Stanley's bond to the Bucket as a parallel to his bond to Stanley, instead of the other way around.

Stanley is the thing that is here in this world and story to comfort the Narrator. But Stanley is also the thing that can crush the Narrator's spirit.

In the Press Conference Ending, Stanley's bold new approach to story-telling gets him lauded, gets him praise. In the Bucket version, he tries to make the Bucket understand him through other people understanding him, and it fails. It scans as the Narrator desperately trying to reach out to Stanley, even as he tries to get adoration from an audience. Stanley only has eyes for the Bucket in the Apartment ending; in the end, the Narrator only has Stanley for company, and he on some level wants Stanley to appreciate him. He asks for feedback in the Games ending. And while nothing will ever really make him happy, there, he still asks.

In the end, Stanley's the only audience that really matters. He wants Stanley to like the things he makes.

"Why did I create Stanley? Was I lonely?"

He was. And the audience he's looking for isn't one he can interact with.

TSPUD is about a creator's relationship with an audience, hoping they will play the game, and like the game, and understand the game, so that they'll keep playing. And the game "ends" when the creator says "okay. I think I'm ready to try something new. for real this time!"

And then he gets pulled right back, because the audience response is just so uproarious. How can you move on from a thing that did, on some level, garner you success? Shouldn't you just stick with the thing that made you successful? But how do you make it better, when it felt like a complete work?

When do you get to move on? When do you make that choice? Will the audience understand? Will they follow you? Or do they just want more of the same?

The answer isn't simple.