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mc776(Intro post here)
This is a scrap bucket for miscellaneous issues raised by the previous posts in this series.
Moons
Could the eclipse and double moon be signs of a parallel universe leaking in? If so they would have to have been formed independently of anything Max did: if the course of the moon could be thrown so far off a scant five years into the William-lives timeline that everyone would have had to update eclipse schedules, surely self-described science nerd Chloe would have mentioned it, and surely the paper would have noted that this wasn't the first time in the past few years?
Two moons of the same size and distance from Earth, that close to each other, would produce noticeable effects beyond a simple light show in the sky. At worst they might be thrown off orbit. At best they might cause some odd tides. In the middle they may begin to crash into each other. But it's unlikely anything cataclysmic would be noticed within a day or two that we'd be able to see it, or news of it, ingame.
In all likelihood this is a very large optical illusion in the sky that has some mechanical manifestation short of an entirely new celestial body. As far as creative licence goes, an optical illusion created by lenses is very thematic - a distortion in the dome of heaven. This theory is weakened, however, by the fact that one of the moon images fades away, rather than the two moons rippling and merging the way you might expect from an optical distortion being rectified. There's also no change in brightness to the remaining moon.
In any event, it seems most natural to understand this as a message rather than a mere side effect of something else.
If this is a message, then the only apparent one I can infer is: there are two possible worlds: now is time to choose which. The fading of one moon would then be to confirm that one has chosen. But that fading only happens when Chloe receives the text from "Nathan" about destroying the evidence and they rush to the junkyard; the later change in that decision, meanwhile, comes long before that, just after the Warren selfie. This could imply one of the following:
I literally cannot imagine who else this message could be for, however.
On the other hand, this visual effect may be a side effect of a spiritual phenomenon rather than a naturalistic one - and if it looks semiotic then it is because of its nature rather than express primary intent. Instead of some atmospheric effect affecting only the moon's light or shadow, something may in fact be happening to the moon itself - or rather its relationship with its context.
C.S. Lewis discusses the medieval concept of the moon as a boundary between mundane and spiritual (to use the terms loosely) in The Discarded Image. A search for "Moon" in the text should give a good number of examples, all of which should be read and considered together, but I'll just quote the first one:
If this applies in the world of LiS, most likely what we are seeing with the unscheduled eclipse and the double moon is not a reduplication or an invasion from another cosmos, but the symbol of a (perhaps temporary) fracturing of a metaphysical barrier - an army landing on the shores of this world.
Dante's cosmology adds a moral angle to the Moon's liminality:
There are many implicit vows in this game, some of which if the cast had not been modern secular white Americans would have been oaths or worse. What Max will have promised to Chloe, a slim majority of players will have her break in the end (with its most immediate primary beneficiary's (then) consent, as a means of saving numerous lives); Chloe's vow to avenge Rachel will be broken before the end, if only because a trusted time traveller from the future will reveal to her its impossibility.
Alternative Max
Yes, I used "he" in the other post, and yes that's based on the real Max's "you son of a bitch" in their conversation. I'm still convinced (All Wounds notwithstanding) that this is an angry spirit sent to vex Max, supercharge all her anxieties against her and chip away at her resolve.
Frankly, this scene was one of the things that initially sealed the deal for me that Max has to save Chloe in the end. Yes, the utilitarian arguments to the contrary make perfect sense on their face, but given:
Symbols for time in the game
Just relying on memory I can think of the following usually-recurring symbols concerning time in the game:
These are all linear symbols - or even mere points - inasmuch as the parts that represent the flow of time do not fork.
As for branching time symbols:
In many other works we might see drugs as a means of entering parallel universes. However, any reference to such in LiS is limited to dramatic irony highlighting Chloe's ignorance about actual time travel Max had just undergone; otherwise, the only travel they facilitate is to force a conscious mind to skip forwards.
We also get the "Hole to another universe" graffiti. I've never considered them as anything more than a whimsical expression of Chloe's desire to get out of Arcadia Bay. There's nothing inherent to them that implies the other universe must be a timeline that branched off from the one we see (or from which the one we see had branched off), rather than an independent place entirely. Anyway, we never see them actually reveal any other universe.
Samuel's excellent line about each of us having many destinies can be read as being about parallel universes or our ability to choose freely between things that have equal claim to our fate.
Two dramatic ironies on the beach
Max and Chloe each say one odd thing during their conversation when they face the storm:
The first makes little sense from the audience perspective: this is only a recap of the events from the past 14 hours or so, during which Chloe was unlikely to have taken a memory-affecting amount of weed or antidepressants; nor is Max asking about any events that she might have "rewound away". It does make sense, however, if Max is still uncertain about the nature of events she does not remember, and whether things actually happened since they left the party or if she's just created a new parallel universe, and in either event whether Chloe's consciousness and memories might have been rearranged to match the new prior events or simply transplanted like Max. I write this as someone who has been mulling over these things since mid-late May (today is August 1); Max has had 2 days of constant distraction.
The second I'm just noting here as an aside, as it has nothing to do with parallel universe theories. The only way this makes sense is if Chloe is referring to Max abandoning her back in 2009. It's obviously not trying to stir up a grudge; it can be read as passive-aggressive attention-seeking, but even if so it still seems terribly irrelevant to the immediate conversation. Unless, of course, Chloe is imagining that Max must have travelled back to 2009 and warned herself against getting involved in Chloe's gradual descent, which presumably Max's interventions had failed to help - in which case her "all the times I've almost died or actually died" may be referring to a much larger inferred body count than Max or the audience has seen.
Conclusion
I think it's safe to say there is nothing conclusively disproving any alternate timeline's continued existence as a parallel universe, any more or less than we have in real life without time travel powers - but neither is there anything evidencing it. In any case, everyone acts like it's the final result that matters, because that's all they can ever hope to experience.
But I do believe that, based on what is portrayed in the game, no one - not even the player - actually experiences anything that would empirically support the continued objective existence of new timelines created through the focus. While a blazé heedlessness of their possibility is not called for and care should be taken while acting in a situation that one intends to "abandon" with an imminent focus, I do not believe any action should be taken that assumes their reality.
While doing more "moon" string searches in Lewis I find this perfect summation of the reasoning in my last post:
My own biases
The time travel stories I was familiar with as a child never postulated parallel universes, and only later in life did I see them become integrated into the fictional work as a way to explain away the grandfather paradox. I think the first might have been Mostly Harmless in which Arthur travelled to numerous alternate Earths looking for a home - which of course presumed constant, regular porosity between the parallel universes of the sort totally unseen in Life Is Strange.
Going from the summaries of parallel universe episodes in Doctor Who confirms my recollection that the parallel universe model became much more popular in the late 1990s and 2000s - in other words, all of Max's, Chloe's and Warren's lives. (Relatedly, the Simpsons episode summary below has always used the language of arriving into different realities; it was first written in 2010 with numerous edits since that preserve this language, whereas the episode itself aired in 1994.)
Other than the commentary by those three characters, everything in LiS is evocative of the older sort of time travel story, the kind which focusses on the magnitude of the unintended consequences of changing the past and generally either ignores the grandfather paradox or assumes the time travellers themselves are somehow insulated from it.
(The oldest, it seems from wiki, deal little with consequences of interfering with the past at all, but instead are about either only movement forwards in time (with or without hope of return to where they had started), or people going back only for their own edification or that of those they visit and either have no other effect on the past or at most find themselves to be forgotten contributors to historical events. No parallel universes in these, in any event.)
Two final timelines
For reference as to how the final timeline should look without Max's memory of that which has no longer happened, here's a summary of all ingame events from Chloe's POV.
Bay
Monday
Post some posters, fuck up blackmail attempt, die.
Bae
Monday
Post some posters, fuck up blackmail attempt, alarm goes off, escape, lay low, steal gun, maybe more posters, meet Max; get photographic proof Max was the one who set off the alarm; get into fight with David; be told about time power but no demonstration
Tuesday
Max predicts pocket contents and future events at diner; Max always knows how to adjust aim; nosebleed and blackout, rest; altercation with Frank (no evidence of powers at all); Max gets her unstuck from rails (may or may not reveal any evidence of rewind, though it's a reasonable inference if the non-violent option is taken); [whatever Chloe was doing the rest of the day], hang out at beach, watch eclipse
Wednesday
Max runs off to look for some way to break into a room and a few seconds later appears from inside it, in less time than it would take to go around, break a window and climb through (and there are no broken windows inside); half-joking accusation of Max doing a rewind which she denies; nothing else suggestive of powers thereafter (unless Max repeats the door trick in the locker room), but Chloe does note Max becoming "less chickenshit"; relaxing morning, first kiss (or not - you monster), confrontation with mom and stepdouche - will only know one of Max's choices whichever one it is, no evidence of rewind; Max somehow gets Frank's RV keys - not proof of rewind but there is no other plausible theory of how she could have gotten them; get angry at Max and drop her off at school; [does Chloe have a day job???]; Max jokes about rewind while they make up; get together and compile evidence - no evidence of rewind but they would surely have been talking about it (but NOT about focus) with Max providing more details on how it works (incl. how she got the keys)
Thursday
Sudden glomp out of nowhere "YOU'RE BACK!", turns out Max has no memory of last night; Max retrieves stepdouche's secret stash (if he's still there, see note re Frank's RV keys); visit Kate; Max breaks into Nathan's dorm - probably no evidence of rewind, could have been unlocked; altercation with Nathan and Warren - also no evidence of rewind, only sees one of Max's choices; go to meet Frank, *possibly* get suddenly stopped by Max who insists that they proceed unarmed and tell Frank to keep Pompidou inside; go home and go through stuff; Max hacks Nathan's phone - no evidence of rewind since you can just fail miserably and fall back on the PUK, or just luck out on the first try; drive to and break into Dark Room -no evidence of rewind, Nathan's note is obvious and Chloe can't see where the motor originally was stare right at Max as she teleports onto the third level of the farmhouse; find Rachel's remains; [go home, wash up, stay angry, maybe argue with Max about calling the cops]; arrive at Vortex Club; run into Warren; leave Warren, Max suddenly freaks out and insists in tears that they go back home, explaining that Chloe had/will have been killed and Max captured; tell Max on their way back, as instructed, that she had just gone back in time using the photo and warned them to go home; go home, hole up, call David, meet and corroborate findings; plenty of time for convo in which Chloe would have extracted more details about Max's focus power, the only example of which she'd be able to talk about would be Pancakes (and Chloe would explain that Max had divulged that during the Warren focus, while Max would understand that's why she doesn't remember telling her - and at this point Chloe would be suspecting there are many more gaps in Max's story she either honestly cannot remember or is/will be concealing from Chloe because they involve some truly horrific things)
Friday
Possibly get followup from David about Jefferson and the Dark Room; storm goes hella crazy, Max says go to lighthouse; try to warn some people about the storm; [??try to help some people along the way??]; arrive at beach, see storm exactly as Max had predicted; another return glomp, "YOU'RE ALIVE!"; freak out about all that's happened and spiral into self-deprecating talk, aborting only when Max does the same and she has to talk her out of it; Max blacks out, drag her up to lighthouse; Max awakes and begins to spiral in what sounds like her old paralyzing self-blame combined with survivor's guilt while minimizing or ignoring all they had accomplished up to that point; intervene; segue into talk about being fated to die; recall how the photos work; remember the butterfly photo, make the connection and the offer; watch Max struggle with decision and once reached tear and throw into the winds just to be sure
This is a scrap bucket for miscellaneous issues raised by the previous posts in this series.
Moons
Could the eclipse and double moon be signs of a parallel universe leaking in? If so they would have to have been formed independently of anything Max did: if the course of the moon could be thrown so far off a scant five years into the William-lives timeline that everyone would have had to update eclipse schedules, surely self-described science nerd Chloe would have mentioned it, and surely the paper would have noted that this wasn't the first time in the past few years?
Two moons of the same size and distance from Earth, that close to each other, would produce noticeable effects beyond a simple light show in the sky. At worst they might be thrown off orbit. At best they might cause some odd tides. In the middle they may begin to crash into each other. But it's unlikely anything cataclysmic would be noticed within a day or two that we'd be able to see it, or news of it, ingame.
In all likelihood this is a very large optical illusion in the sky that has some mechanical manifestation short of an entirely new celestial body. As far as creative licence goes, an optical illusion created by lenses is very thematic - a distortion in the dome of heaven. This theory is weakened, however, by the fact that one of the moon images fades away, rather than the two moons rippling and merging the way you might expect from an optical distortion being rectified. There's also no change in brightness to the remaining moon.
In any event, it seems most natural to understand this as a message rather than a mere side effect of something else.
If this is a message, then the only apparent one I can infer is: there are two possible worlds: now is time to choose which. The fading of one moon would then be to confirm that one has chosen. But that fading only happens when Chloe receives the text from "Nathan" about destroying the evidence and they rush to the junkyard; the later change in that decision, meanwhile, comes long before that, just after the Warren selfie. This could imply one of the following:
- they still were free to go home and get David or the cops onside even after the party.
- the signal was for someone else.
I literally cannot imagine who else this message could be for, however.
On the other hand, this visual effect may be a side effect of a spiritual phenomenon rather than a naturalistic one - and if it looks semiotic then it is because of its nature rather than express primary intent. Instead of some atmospheric effect affecting only the moon's light or shadow, something may in fact be happening to the moon itself - or rather its relationship with its context.
C.S. Lewis discusses the medieval concept of the moon as a boundary between mundane and spiritual (to use the terms loosely) in The Discarded Image. A search for "Moon" in the text should give a good number of examples, all of which should be read and considered together, but I'll just quote the first one:
Like all his successors, Cicero makes the Moon the boundary between eternal and perishable things, and also asserts the influence of the planets on our fortunes—rather vaguely and incompletely but also without the qualifications which a medieval theologian would have added (xvii).The boundary, that is, between that which moves and has its being within and subject to Time, and that which need not.
If this applies in the world of LiS, most likely what we are seeing with the unscheduled eclipse and the double moon is not a reduplication or an invasion from another cosmos, but the symbol of a (perhaps temporary) fracturing of a metaphysical barrier - an army landing on the shores of this world.
Dante's cosmology adds a moral angle to the Moon's liminality:
Above Purgatory lies the spheres of Heaven, each describing a deficiency in one of the cardinal virtues. The Moon, containing the inconstant, whose vows to God waned as the moon and thus lack fortitude; Mercury, containing the ambitious, who were virtuous for glory and thus lacked justice...(Compare Lewis:
Dante assigns the Moon’s sphere to those who have entered the conventual life and abandoned it for some good or pardonable reason.)
There are many implicit vows in this game, some of which if the cast had not been modern secular white Americans would have been oaths or worse. What Max will have promised to Chloe, a slim majority of players will have her break in the end (with its most immediate primary beneficiary's (then) consent, as a means of saving numerous lives); Chloe's vow to avenge Rachel will be broken before the end, if only because a trusted time traveller from the future will reveal to her its impossibility.
Alternative Max
Yes, I used "he" in the other post, and yes that's based on the real Max's "you son of a bitch" in their conversation. I'm still convinced (All Wounds notwithstanding) that this is an angry spirit sent to vex Max, supercharge all her anxieties against her and chip away at her resolve.
Frankly, this scene was one of the things that initially sealed the deal for me that Max has to save Chloe in the end. Yes, the utilitarian arguments to the contrary make perfect sense on their face, but given:
- there is clearly a supernatural genesis to both Max's time travel powers and the storm;
- these two things are linked to both each other and Max's connection to Chloe;
- the entire week had been peppered with little coincidences that appear designed to help preserve that connection;
- there is nothing in the storm's behaviour that suggests it actually "wants" to harm either of them or keep them apart, in fact quite the opposite (and while I know this is a technical/budget rigging issue, I was just watching the final beach scene earlier and, well,,);
- unbeknownst to Max, the events up to this point that have involved the storm or the power or both have been constantly peppered with Scriptural imagery of passover, whirlwinds, resurrection and redemption of wayward beloved women; and
- the only supernatural force that has in any way tried to go against this power-and-storm plan seems completely incapable of communicating except through accusations, fear, guilt, shame, doubt and falsehoods,
Symbols for time in the game
Just relying on memory I can think of the following usually-recurring symbols concerning time in the game:
- Spools of wire
- Ouroboros
- Vortex
- Wheels
- Toilet paper
- Butterfly
- Camera (as a way to capture frozen pieces of time)
- Chair/bench/stool (as a way to remain briefly in a seemingly frozen piece of time)
- Death/decay/entropy (skulls, junkyard, etc.)
- Anachronistic technology
- Child's growth chart
- Text message timestamps
- Music
These are all linear symbols - or even mere points - inasmuch as the parts that represent the flow of time do not fork.
As for branching time symbols:
- Arcadia Bay is not by a river, let alone a river delta, and there is no imagery of branching streams or even mention of the adage of not stepping in the same river twice.
- The only trees we see are the ones in the landscape. They are part of a greater world. They are characters, like Lisa, and form a chorus but one that only Max rather than the audience can (very imperfectly) hear. As I type this I can imagine an argument that these are in fact the constantly branching, growing timelines standing in eternity; but my heart is not in any such interpretation at all. I am not clear why. The lack of any ingame imagery of their growth, perhaps?
- The fractal patterns of blood veins and butterfly wings are never explored, despite a great deal of explicit blood and butterfly imagery in the game.
- The train tracks fork where Chloe is in danger. It is in fact the mechanism of the fork itself that puts her in danger to begin with. The curious thing about this as a symbol for time is that while both paths can equally save or destroy her, one of those paths is objectively wrong. It is, in fact, the wrong path that will cause Chloe more hurt in her salvation, which makes even more problematic the whole notion that she is "fated to die". (see also 1 Cor. 3:13-15)
In many other works we might see drugs as a means of entering parallel universes. However, any reference to such in LiS is limited to dramatic irony highlighting Chloe's ignorance about actual time travel Max had just undergone; otherwise, the only travel they facilitate is to force a conscious mind to skip forwards.
We also get the "Hole to another universe" graffiti. I've never considered them as anything more than a whimsical expression of Chloe's desire to get out of Arcadia Bay. There's nothing inherent to them that implies the other universe must be a timeline that branched off from the one we see (or from which the one we see had branched off), rather than an independent place entirely. Anyway, we never see them actually reveal any other universe.
Samuel's excellent line about each of us having many destinies can be read as being about parallel universes or our ability to choose freely between things that have equal claim to our fate.
Two dramatic ironies on the beach
Max and Chloe each say one odd thing during their conversation when they face the storm:
- Max asks Chloe to update her about what had happened since they left the party, then without skipping a beat adds "You remember, right?"
- Chloe says she understands why Max would want her out of her life, after the two of them had just talked about how much Max did to make sure she stayed in her life.
The first makes little sense from the audience perspective: this is only a recap of the events from the past 14 hours or so, during which Chloe was unlikely to have taken a memory-affecting amount of weed or antidepressants; nor is Max asking about any events that she might have "rewound away". It does make sense, however, if Max is still uncertain about the nature of events she does not remember, and whether things actually happened since they left the party or if she's just created a new parallel universe, and in either event whether Chloe's consciousness and memories might have been rearranged to match the new prior events or simply transplanted like Max. I write this as someone who has been mulling over these things since mid-late May (today is August 1); Max has had 2 days of constant distraction.
The second I'm just noting here as an aside, as it has nothing to do with parallel universe theories. The only way this makes sense is if Chloe is referring to Max abandoning her back in 2009. It's obviously not trying to stir up a grudge; it can be read as passive-aggressive attention-seeking, but even if so it still seems terribly irrelevant to the immediate conversation. Unless, of course, Chloe is imagining that Max must have travelled back to 2009 and warned herself against getting involved in Chloe's gradual descent, which presumably Max's interventions had failed to help - in which case her "all the times I've almost died or actually died" may be referring to a much larger inferred body count than Max or the audience has seen.
Conclusion
I think it's safe to say there is nothing conclusively disproving any alternate timeline's continued existence as a parallel universe, any more or less than we have in real life without time travel powers - but neither is there anything evidencing it. In any case, everyone acts like it's the final result that matters, because that's all they can ever hope to experience.
But I do believe that, based on what is portrayed in the game, no one - not even the player - actually experiences anything that would empirically support the continued objective existence of new timelines created through the focus. While a blazé heedlessness of their possibility is not called for and care should be taken while acting in a situation that one intends to "abandon" with an imminent focus, I do not believe any action should be taken that assumes their reality.
While doing more "moon" string searches in Lewis I find this perfect summation of the reasoning in my last post:
But the human mind will not long endure such ever-increasing complications if once it has seen that some simpler conception can ‘save the appearances’.
My own biases
The time travel stories I was familiar with as a child never postulated parallel universes, and only later in life did I see them become integrated into the fictional work as a way to explain away the grandfather paradox. I think the first might have been Mostly Harmless in which Arthur travelled to numerous alternate Earths looking for a home - which of course presumed constant, regular porosity between the parallel universes of the sort totally unseen in Life Is Strange.
Going from the summaries of parallel universe episodes in Doctor Who confirms my recollection that the parallel universe model became much more popular in the late 1990s and 2000s - in other words, all of Max's, Chloe's and Warren's lives. (Relatedly, the Simpsons episode summary below has always used the language of arriving into different realities; it was first written in 2010 with numerous edits since that preserve this language, whereas the episode itself aired in 1994.)
Other than the commentary by those three characters, everything in LiS is evocative of the older sort of time travel story, the kind which focusses on the magnitude of the unintended consequences of changing the past and generally either ignores the grandfather paradox or assumes the time travellers themselves are somehow insulated from it.
(The oldest, it seems from wiki, deal little with consequences of interfering with the past at all, but instead are about either only movement forwards in time (with or without hope of return to where they had started), or people going back only for their own edification or that of those they visit and either have no other effect on the past or at most find themselves to be forgotten contributors to historical events. No parallel universes in these, in any event.)
Two final timelines
For reference as to how the final timeline should look without Max's memory of that which has no longer happened, here's a summary of all ingame events from Chloe's POV.
Bay
Monday
Post some posters, fuck up blackmail attempt, die.
Bae
Monday
Post some posters, fuck up blackmail attempt, alarm goes off, escape, lay low, steal gun, maybe more posters, meet Max; get photographic proof Max was the one who set off the alarm; get into fight with David; be told about time power but no demonstration
Tuesday
Max predicts pocket contents and future events at diner; Max always knows how to adjust aim; nosebleed and blackout, rest; altercation with Frank (no evidence of powers at all); Max gets her unstuck from rails (may or may not reveal any evidence of rewind, though it's a reasonable inference if the non-violent option is taken); [whatever Chloe was doing the rest of the day], hang out at beach, watch eclipse
Wednesday
Max runs off to look for some way to break into a room and a few seconds later appears from inside it, in less time than it would take to go around, break a window and climb through (and there are no broken windows inside); half-joking accusation of Max doing a rewind which she denies; nothing else suggestive of powers thereafter (unless Max repeats the door trick in the locker room), but Chloe does note Max becoming "less chickenshit"; relaxing morning, first kiss (or not - you monster), confrontation with mom and stepdouche - will only know one of Max's choices whichever one it is, no evidence of rewind; Max somehow gets Frank's RV keys - not proof of rewind but there is no other plausible theory of how she could have gotten them; get angry at Max and drop her off at school; [does Chloe have a day job???]; Max jokes about rewind while they make up; get together and compile evidence - no evidence of rewind but they would surely have been talking about it (but NOT about focus) with Max providing more details on how it works (incl. how she got the keys)
Thursday
Sudden glomp out of nowhere "YOU'RE BACK!", turns out Max has no memory of last night; Max retrieves stepdouche's secret stash (if he's still there, see note re Frank's RV keys); visit Kate; Max breaks into Nathan's dorm - probably no evidence of rewind, could have been unlocked; altercation with Nathan and Warren - also no evidence of rewind, only sees one of Max's choices; go to meet Frank, *possibly* get suddenly stopped by Max who insists that they proceed unarmed and tell Frank to keep Pompidou inside; go home and go through stuff; Max hacks Nathan's phone - no evidence of rewind since you can just fail miserably and fall back on the PUK, or just luck out on the first try; drive to and break into Dark Room -
Friday
Possibly get followup from David about Jefferson and the Dark Room; storm goes hella crazy, Max says go to lighthouse; try to warn some people about the storm; [??try to help some people along the way??]; arrive at beach, see storm exactly as Max had predicted; another return glomp, "YOU'RE ALIVE!"; freak out about all that's happened and spiral into self-deprecating talk, aborting only when Max does the same and she has to talk her out of it; Max blacks out, drag her up to lighthouse; Max awakes and begins to spiral in what sounds like her old paralyzing self-blame combined with survivor's guilt while minimizing or ignoring all they had accomplished up to that point; intervene; segue into talk about being fated to die; recall how the photos work; remember the butterfly photo, make the connection and the offer; watch Max struggle with decision and once reached tear and throw into the winds just to be sure
(no subject)
Date: July 27th, 2020 07:10 (UTC)Meanwhile, I notice Warren interprets Pulp Fiction as having alternate timelines. It does not; it's just told out of chronological order for thematic effect. Is he possibly reading something into Jules' miraculous survival? Or is this just one more of the numerous times he Just Doesn't Get It? I feel somewhat more justified in my insistence on unreliable narrators in this game.
(Marginally relatedly, I also went on Fandom and spoilered some Gravity Falls for myself. Bay does Chloe a lot dirtier than what happens to Grunkle Stan.)