THE LOVELESS LORD OF NOTHING BUT THE CRADLE
ABANDONED, but the bones will be revived in the future
TW: C/SA, sex work, trafficking, gang violence, eye trauma, fantasy abortion politics, back alley medicine / surgery
this game is a WIP heavily inspired by the trauma/gender/sexuality/violence of jujutsu kaisen and my previous game inspired by jujutsu kaisen, THE NEW LORD OF NOTHING IS TAKING PRAYERS, but this game integrates other figures from my traumatic/erotic games canon into it.
THE LOVELESS LORD OF NOTHING BUT THE CRADLE is a game that has an ensemble cast and endless intertwining with many canon figures from my other body of work and it all incorporates them into actors on a set (or in a hakoniwa, if you catch the toy garden reference).
this game is about time travel in a way that breaks the dimensions of the universe. it is done in a hypercard framework, which i've been told was an old-school IF engine for macOS, but this time i am using it in a modern engine (ren'py) and using it in a distinctly swanchime/feyxuan way. the executive decision to do this was informed by the need to emulate, like in the MS-DOS inspired graphics of THE NEW LORD OF NOTHING IS TAKING PRAYERS, the existence of an alternate history that could not have been.
in THE LOVELESS LORD OF NOTHING BUT THE CRADLE, tenyo junpei is trying to "become" enough actors through enough theatres of "battle" (traumatic/erotic philosophical predicaments) that she can come to accept her existence in her own timeline where she can love and be loved. tenyo junpei, like her namesake, yoshino junpei from JJK canon, has an obsession with movies.
but in this world, tenyo junpei is "the millenium actress," who lives her life eternally "on set" as an ex-porn trafficking victim as well as a camgirl (INVIOLET TRUONG REFERENCE) and the truth of the matter in its entirey is that "THE truth" (non-singular; ambiguous) lies beneath the text of tenyo junpei's life, but also every "actor" she is, playing the parts out of lives from other games of mine.
the "TRUTH" of this text is in the intertext; the more of my games you have played, the more you will get out of it, but it isn't a requirement. each world comes with its own introduction, and same with each "actor" and each "role."
the truth is in the ambiguity, in the unspeakable and the unspoken.
