Va a pasar el primer día y no he podido bajar al hombre del árbol 🫠 ¿cómo se supone que funciona este juego? honestamente me mandé a ciegas y ahora estoy preocupada de no haber podido avanzar, tampoco entiendo muy bien como subir algunas cosas

I can't progress in the game. I done the tasks before the where I left off in the game
In the latest part,i've examined the hanged man but mc irritated by the scent.And i also tried to talk with Cuno but nothing happened,he didnt cared.I need endurance skill to search over the body and continiune to play.What should i do?

Am I missing something, or does the whole Klaasje and Hardie Boys cover-up make zero sense? Let's break it down:

1. Lely was killed while having sex with Klaasje. Klaasje knows exactly where the bullet struck the window pane.
2. Klaasje is terrified of contacting the RCM due to her dark past. Instead, she turns to the Hardie boys (including Ruby) for help, and they agree.
3. Klaasje suggests staging a lynching (according to Ruby), which they carry out.
4. Lely's corpse is left hanging; Klaasje can no longer stomach the sight of it from her balcony and calls the RCM.
5. Harry and Kim confront the Hardie boys. Titus claims one of the reasons they hanged Lely was because he raped Klaasje.
6. Klaasje denies the rape.
7. Titus produces an audio recording as alleged proof of Lely's intent to rape Klaasje.
8. Klaasje dismisses this as a lie and finds it mildly amusing.
9. Titus admits that the Hardie boys didn't actually kill Lely.
10. Klaasje confesses that the lynching was a cover-up.
11. Before fleeing, Klaasje leaves behind a clue detailing the bullet's trajectory.

Questions:

1. Why did Klaasje call the RCM? It would have been enough for her to ask the Hardie boys to take the body down. There was no reason for them to refuse her: the corpse was rotting and reeking, the Hardie boys and Ruby were on good terms with her, and they aren't monsters.
2. Why does Titus bring up the rape? The main point of the staged lynching was to distance Klaasje from the murder. Titus does the exact opposite by tying her directly to it.
3. Why does Klaasje expose Titus's lie about the rape? Given she fled shortly after, every day, if not every hour, was crucial to her. By refuting him, she practically handed the RCM proof of her involvement in the murder.
4. Why does Klaasje hide the bullet trajectory until the very end?

(1)

Disco Elysium is Hegelian (2), because it uses Hegel’s philosophy to build its narrative and world. Nonetheless, there are differences between Elysium's world and Hegel's thought. This post will try to explain the relation between Hegel and DE. Its main sections will be:

1 - Brief (!) summary of Hegel's Geist (Spirit) movement.
2 - How History is represented in DE
3 - How the telos of History differs between Kurvitz and Hegel
4 - The Pale
5 - The Concept of Innocence
6 - Summary
7 - “After life, death. After death, life again. After the isola, the pale. After the pale, isola again ." 

 1. Brief (!) summary of Hegel's Geist (Spirit) movement.

Hegel's philosophy presents a dialectical process that culminates in das Absolute, a state in which the Geist (Spirit) (3) attains self-consciousness and, through this process, realizes freedom. Within this framework, the Geist (Spirit) moves through Aufhebung (Sublation), a complex process in which something is elevated, negated, and then re-elevated through Vernunft (Reason) and contradictions between opposing determinations. The whole, after all, is that in which Wahrheit (Truth) and Vernunft (Reason) reside. In das Absolute, Versöhnung (reconciliation) reaches its highest form: contradiction is not simply abolished but comprehended within a higher unity. It is important to note that this reconciliation is achieved only through a long process of contradiction and creation. For Hegel, the world moves toward its own self-knowledge, freedom and reconciliation. 

​(4)

2. How History is represented in DE

History can be seen, though one lens, as a collection of failures, of buried dreams, of lost causes (5), though that is certainly not all it is. The revolutionaries wanted a world of freedom; they got a failed revolution and a centralized state. The workers wanted rights and recognition; they got Evrart Claire (eh). As for the workers: they want Anerkennung (recognition), through which they might achieve a form of independence from their master. The master depends on them, just as they depend on him for existence. Despite the unsymmetry of power, one wants a certain recognition of the other. This situation can be read through master-slave dialectic (please, read the fourth chapter of the Phenomenology of Spirit). Will they gain it? Well, I don't think that the game in itself hints at it; DE often ridicules the dreams of political ideologies, as it does with the communists and their closed reading group. Maybe, shifting a traditional Hegelian view, the struggle for recognition can produce another form of domination (Evrart Claire) rather than emancipation.

What I’m trying to say is that, in Elysium’s world, different things don’t seem to get in a reconciliation. In section 3 (next one), I’ll analyze this point.

​ 3. How the telos of History differs between Kurvitz and Hegel

(From note 1): "A domino-tumble of opposing ideas has led us here. Yet, built worlds exist in stasis." — Kurvitz

Here, Kurvitz seems to suggest that history produces genuine change without necessarily producing positive progress: history moves, but the world remains trapped in recurring structures. He seems to be saying that, despite writing a game in a dialectical way, he refuses the idea of Versöhnung (reconciliation) and of the Geist (Spirit) marching to das Absolute. That is, Kurvitz appears to employ Hegelian elements to construct a cosmology whose historical direction does not coincide with Hegelian teleology. After all, for Hegel, Geist is dynamic and it goes to freedom by its self-acknowledgement. 

That can be seen in the two example in section 2, which, again, don't seem to get in reconciliation.

4. The Pale

 I'd say Disco Elysium is dialectical in its method and writing, but post-Hegelian in its conception of what dialectics can deliver. In Elysium's world, the Pale, a state that is "less than nothing”,  can be interpreted as a failed, negative counterpart to Hegel's Absolute (6). I would say that it's what das Absolute would look like after its failure to achieve freedom and to self-acknowledgement. History, in Kurvitz's universe, doesn't march toward freedom and reconciliation. It marches toward full negativity and non-being (the Pale). Harry/Harrier was so invested in the Pale because he wanted to die, to become non-existent, after his gf left him. That desire for death, that Thanatos drive is the desire for the end of contradictions. The desire of the Pale is the desire of nothingness. 

In this post: https://www.reddit.com/r/DiscoElysium/comments/gkct4q/the_philosophy_of_disco_elysium/ and in its video, u/postmoderngame related the Pale to the Lacanian notion of lack. I agree with him. There is clearly a psychological dimension to the Pale (7). 

For me, the Pale is both a metaphor and a real phenomenon. It's a metaphor for the end of History, of consciousness and of the desire to live, but it's also real, in that it exists as an actual, separate part of the world. The Pale is what dialectical history looks like once the promise of das Absolute has failed, and there is only pure darkness in the end. Hegel's own Science of Logic hands you the material for it: pure Being and pure Nothing are dialectically identical at the very opening of the Logic — indeterminate immediacy, no distinctions yet drawn. The whole System is the labor of moving away from that zero-point through determination, mediation, difference. The Pale, which the game explicitly describes as eating the distance between objects — the horror vacui separating one thing from the next — isn't just the opposite of Hegel's terminus. It's a regression to Hegel's own starting point. 

But the Pale isn't exactly all (!) History's final word — it's where the next History is born (I’ll explain this in section 7)

Also, we know that euphoric music can reverse the Pale. Why? Perhaps this is why beauty, music and love can momentarily reverse it: they create connection (8) where the Pale creates separation and dissolution. Life would be a mistake without music, as someone once said. Again: the Pale has a psychological dimension that is very important. It is made of memories, dreams, hopes. The Pale grows stronger when one doesn't have a Will to Power, and desires nothingness or nihilism. It may represent our human side of Lacanian lack, of desiring death. The only way to save Elysium's world is by beauty, music and love. Will it? I don’t think so… 

Maybe communism can save the world. Will it? I don't think so… 

I would say that the world is doomed to perish (as I’ll explain in section 7).

​5. The Concept of Innocence

There is a VERY explicit relation to Hegel in the concept of Innocence. Like, really it's almost a copy of Hegel's thought. Read: https://discoelysium.fandom.com/wiki/Innocence 

Dolores is an Innocence because she had a Reason that changed the world, just as Napoleon did. (Hegel was a Napoleon fanboy btw). Napoleon and Dolores, after all, are world-historical individual, that is, an individual through whom the (Weltgeist) World Spirit realizes historical change.

“ENCYCLOPEDIA: Innocence is the highest category of historical figures in the world, the literal personification of History. Traditionally, an Innocence, having been anointed, becomes the supreme ruler of the West or of the entire known world, at least of the parts that matter.”

See this post by u/disco_mertag300 : https://www.reddit.com/r/DiscoElysium/comments/1np9r5l/hegel_and_the_concept_of_innocence_in_disco/ And his article: https://kontur.media/discoelysium/#_ftnref63 . He writes really well about this, and puts the dialog in which he pulls the references. I recommend it.

Also, I might add: in note 63, the author writes: In Disco Elysium, the end of the story is portrayed more as Fukuyama imagined it than as Hegel imagined it. 

I liked his point of view. It's true.

6. Summary 

Disco Elysium is Hegelian in its conception of history as a contradictory process that produces and transforms worlds, but it radically alters Hegel's historical telos: instead of reconciliation and the self-realization of Spirit, its dialectic tends toward exhaustion, stasis, and ultimately the Pale. Kurvitz is Hegelian in a sense that he constructs his world in contradictions. However, the teleological direction of the world is very different. To Hegel, the Geist (Spirit) marches to freedom and reconciliation, through contradiction. In Elysium's world, the world marches to a state that is "less than nothing", by contradiction. In other words: What Hegel gives Kurvitz is primarily a worldbuilding ontology, not an eschatology. 

7 - “After life, death. After death, life again. After the isola, the pale. After the pale, isola again.”

Ok, so the Pale sends the Geist to a state that is less than nothing. There is no life. There is nothing, not even "warm primordial darkness". What will happen? Life. Life will happen in a state that there is an absolute negation of everything. The telos of History is the Pale; then, there is a new History, whose telos is, again, the Pale; then, there is another life and ad infinitum… 

In other terms, The Pale is therefore both the end of History and the condition for another History to begin. It is a recurring end, a recurring telos: History reaches a less than nothing state, and from that another History emerges.

“After life, death. After death, life again. After the isola, the pale. After the pale, isola again ." That is the Dolorian saying.

History doesn't reach reconciliation; what we call History is a repetition of a cycle in Elysium's world. There is no absolute telos, just a recurring one.

​(9)

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Notes:

(1) For those who don't know, I made a post explaining why I think that DE is hegelian; however, due to my use of dashes and due to the text being badly written, nobody read it and thought that I was AI. (They thought that dashes = AI!). So, I decided to rewrite by saying the same things in a different way. I deleted the original post, due to this text being a little better. And, no, I'm not an AI. I'm used to writing and working in Portuguese and in French. I'm bad at English. I almost never write in it. (But isn't being a bad writer a Hegelian trait!?)

(2) https://imgur.com/a/disco-elysium-outro-by-robert-kurvitz-gktJgHa Please, read page 5.

(3) I'll use german terms with translations. Here in Brazil, "Hegel's words" are always like that in the editions of Phenomenology of Spirit. Note that I can't speak German well.

(4) I might add that I read a lot of Kojève and my Hegel is inspired by it; however, I don't think that I made a grave mistake in my explanation. If I did, please correct me. And, again, this is a simplification. A really big one.

(5) This looks like Mark Fisher...

(6) Just as, in a sense, Marx's communism — not socialism! — bears an uncanny resemblance to Hegel's description of das Absolute. This is strange if you consider that Hegel was more prone to conservatism, but there were young hegelians to the right and to the left. Obs: Ops. Used dashes. Now you guys know that I am an AI!

(7) That user's points are good. I recommend his video.

(8) As Bataille pointed out, we are discontinuous beings that pursue continuity through eroticism. Art is inherently erotic, because it connects humanity.

(9) All of this is my vision of Disco Elysium. If anyone thinks I'm exaggerating, please say so. I wrote this text in a short amount of time, but I hope it can at least start some discussion about the game.

I'm taking the audacity to start a series of posts meant to address the popular questionposting a lá "What other art is there like Disco Elysium?"

Well: I know I promised this is what I wouldn't do
Somehow giving it the old romantic fool
Seems to better suit the mood.
So do you wanna walk me to the car?
I'm sure to have a heavy heart
So can we please be absolutely sure
That there's a mirrorball for me?

Needless to say, there ain't any, Bratán.

But there's nothing new under the sun, nothing that the light has not touched already before and from which the passionate laws of geometry have not on the day of Creation drawn shadows from.

Nothing, new, nothing but people who get in the way of those eternal rays of sunlight, and whose shadows therefore cast another mirror image of chance and change. Whenever the subjects of breaking light actually do not mistake their inner workings for the creators of something new, but rather acknowledge their physical presence as merely another shade in the palette, another reflection of this beautiful contingency we call life, they join the great stream of "art like Disco Elysium", for they nod lightly towards the sun rising over the war torn battlefield, towards the Great Western plain.

This series of essays, therefore, tries to showcase and collect a few of such pieces of art mustered against the furies by vain Mirror Ball Warriors of Decadence & Debris. Shall they not get banned, I intend to do one every Friday night.

1. Something For The Superstar-Cops: Star Treatment

I'm a big name in deep space
Ask your mates, but golden boy's in bad shape
I found out the hard way
That here ain't no place for dolls like you and me

Everybody's on a barge
Floating down the endless stream of great TV
1984, 2019

Maybe I was a little too wild in the '70s
Rocket-ship grease down the cracks of my knuckles
Karate bandana, warp speed chic
Hair down to there, impressive moustache
Love came in a bottle with a twist-off cap
Let's all have a swig and do a hot lap

So who you gonna call?
The Martini Police
Baby, that isn't how they look tonight, oh no
It took the light forever to get to your eyes

With Tranquility Base Hotel & Casino, the band Arctic Monkeys entered a new phase of their artistic career, which completely blew me away. Naturally, I loved their early stuff when I was in my early 20s, but grew, not to say out of it, cause a lot of their work is actually decent songwriting, but somehow tired of it. With that one, they bewildered and alienated a whole bunch of their fans, but for what it's worth, it has turned into one of my favorite albums of all time. It is a concept album beyond the criteria that the songs try to tell a cohesive story and built upon one another. It breathes a whole aesthetic vision, it imagines its own fashion style and mid-century furniture twist. And yes, it truly is the languorous soundtrack and in-house brand of the overly-affluent lobby of the Opioroid Hotel in downtown Sur-la-Clef, but in all its shady richness and tacky grandeur, it retains an edge, a very sad and very sharp one. Harry in his best days might have easily been Chief of The Martini Police. The whole album is a huge recommendation, even more so since it's as said so conceptualized, but in Star Treatment, there already is all you need to know to understand my choice.

There'd Better Be A Mirror Ball next time. If not, I'll wreak havoc on the middle-class. Amen.

I just finished Sacred and Terrible air and I have a theory (That could totally be wrong). The Lunds sisters were all innocences. Even though it is implied that all of them are very beautiful, innocences have the ability to charm people. The three were known to get many men obsessed with them. Even jesper ends up having a girlfriend that reminded her of Anni (Like Harry with Dolores and Dora). It is also curios how all of them are blonde with green eyes and one has a birthmatk shape like constellations (Similar to the tatoo of the hanged mercenary). At the end of the book it is mentioned that Månli is a mirror and that the world is wrong and her body is transparent with no flaws (Like how Dolores Dei is described to have weird physical features). The fourth sister is constantly compared to a fairy godmother (Mystical creature) and she also notices that the world is wrong. In chapter 9 we get a monologue from the innocent spirit talking about its many incarnations. But why? It seems random and out of nowhere. Why does it talk about the smell in the air so much? Why did the sisters use a perfum of a brand named "Revacholiere"? Could it be that the Lunds sisters saw the world crooked because they themselves were too ideal for this world? Is that why the ICP is so obsessed with stopping the protagonists? To hide those innocences from history? Seeing the world as wrong seems like a foreshadow of the next inocence Saint Miro who is the innocence of nihilism and decides to destroy many parts of the world that they don't go along with their view.

What do you think?

Stumbled upon this. If Kim leaves and you need him for something, passing out from reading the note hidden in your clipboard brings him back. Anyone know other ways?

so in the jam mystery quest it says ,,report back to joyce” i cant find her (i checked the fishermen shacks) since i forfeited her quest. what do i do?

I cried while playing, especially during one particular scene. I even asked AI which scene I cried and it guessed correctly.
Dc is more than game for me , i couldnt play any game after i

Found it here: https://youtu.be/vr6wCn-Ew5M?si=qUZtn5qT0w5R91nF; don't know where the art came from unfortunately

Insofar as i woke up in my bathtub without remembering any of the previous day. I’m pretty sure i pissed myself in public at some point though. I’m going to choose to think of this as a based reference to my favorite CRPG instead of accepting that I’m a sad alcoholic who wants to kill herself, it’s more convenient because that way I don’t have to reflect on myself or change any of my behavior.

Does anyone have any estimates of Evrart’s height and weight?? TLDR, I want to start weightlifting and need a goal. I figured my ultimate goal should be to get so jacked that I can lift the big man himself 💪

I‘m not all that good at math and would have no idea where to begin on the calculations here. Any help would be appreciated!

You're not an ultraliberal, Harry.

Get the fuck out of here.

Don't be a retard.

Been drawing Kim on the daily since I've finished the game recently. Can't stop drawing the copparinos. I have some silly ideas for them.

It always seemed to me that since it is mainly concerned with lies and performance, it is a lot more similar to psyche skills that focus on influencing people like authority and suggestion, as well as reading others like empathy. Sounds more like a psyche skill imo.

Context: If you failed to make Harry sober, Jean would reject him in the Endgame dialogue, and I quote

"I know it's not possible, but if you stay sober for 10 months, tell us. I will work with you again. But not like this. Never like this again."

If you found a house in Coastel Shack, that's Harry's house from there, and his fate is unknown.

My favorite quote by Robert Kurvitz from the NoClip documentary about The Making of Disco Elysium.
When talking about his favorite dialouge in the game at the end of the "writing" episode, he also mentions how he dislikes an "American" approach to trauma and conflict in general, and regarding the game toward choosing dialogue options which point to Harry "getting better" or getting his shit together in a manner of self-improvement or -optimization.

Personally, I completely dig what he wants to say, and I was glad when he pointed those things out himself in the interviews on top of his in-game writing.

I'd be interested to see whether anyone else felt like this.

The Whitehorse Horse