LogFAQs > #952476111

'Deny it' is our option. Giselle shoves us, and we fall. Last wish - to tell Giselle that I still love her, even if she no longer loved me. Ending 4 - A Moment of Hesitation.

I click on 'Deny it' a bit faster the second time around. We refuse to believe that hearing her voice calling out to us wasn't real. We refuse to let go of her hand, to abandon her. If she wants to hate us, destroy us, kill us, fine. We'll fight it out. But deny that she cared? Deny that she waited? Never. Michel reminds her that he loves her. We emerge from the darkness in her heart, we're in the observation tower once more.

Michel encourages Giselle to leave with him, to go outside - even if there is danger, even if there's no place for them out there, it's better than wasting away in the nothingness that is the mansion. Wow, this hits hard. We see Giselle smile again, this time as the Maid. They're afraid because they've changed, but they have to keep moving forward.

The second we decide to leave, the house envelops us in a more profound darkness than ever before. Giselle and Michel are separated. Morgana insists on a beautiful tragedy. I love the way the witch's power is presented here, and how they show Giselle disappearing into the background, sinking into the black.
Morgana insists on pain for Michel in exchange for releasing Giselle to be able to enjoy the sunlight. Michel slips away into darkness, and Morgana urges him to cling to sanity and find her...quickly... before she suffers more. She's had to wait all this time, and if you don't HURRY...

We are invited into the Story Behind the Story.

We're back with Giselle in the time we spent with her in the mansion. She offers to practice conversation with Michel, and he gets a little snippy. "The more you know about someone, the closer you feel to them, and the better friends you can become". Yo, Giselle knows what's up.

A series of questions appear. We'll start with You haven't told me your age. I guessed 20 and I was right! Tell me about your family. Giselle talks about her mother and sister, and how she always wanted a brother. Her dad died in a plague. Michel is stunned by her inability to see family as a source of potent betrayal.

Tell me your preferences. Giselle takes this to mean her taste in men, lawl. She turns it around on him by asking about Michel's first crush, he shuts it down by talking about how he didn't have one. Giselle talks about the son of a blacksmith who was very muscular and popular... but supposes that in hindsight, it was more admiration than love.

I've noticed Giselle's sprite seems paler than it did before. Could just be my imagination. I love how perfectly this illustrates his struggle to keep up with conversation. It's wonderful.

Michel finally confesses that at age 14, he had a crush on his brother's fiancee Aimee. But he says it was just impulses at the time and nothing ever came of it [maybe he's talking about teenage hormones?].

Do you like being here? Giselle says yes, and Michel argues with her. Dude, you are working against yourself here. There's nothing wrong with being overly quiet or overly serious, but you gotta accept compliments and positive things. People are okay with putting effort into a relationship, but you don't want to have to fight someone into loving you. He is very sincere, Giselle acknowledges. That's a very good thing!

Michel regrets not being able to tell Giselle how much he loves and appreciates her smile and how he never wants to let her go.

Creepy text urges eternal suffering on everyone's soul... that's nice.

The screen is now spattered with red...blood? Michel wants to search for Giselle, but he feels out of sorts. A warm liquid covers the floor...blood. It streams down the walls and covers the floor. Michel makes his way to the observation tower, but the door is chained shut, with a lock that requires 3 keys. We recall the key from the man in the painting, and make our way back there. The man in the painting suggests the 3 keys are the 3 men connected to the events the witch is always cursing about. The man in the painting recognizes Michel and almost apologizes, but the connection is lost. We have no time to waste.

We assume that we are following the 3 doors in order, so we go to the rose garden first. We address a shadowy Mell, who wants us to free him in exchange for the key we need - he says he left it under a thorny rosebush. We must reach past thorny brambles that do not give way, they are instead like metal. We rip up our arm pretty bad before Mell confesses to having the key in his possession. He gives it to Michel, even though Mell was warned not to give it up for any reason. Mell questions us if it's worth it to save this person - and it most assuredly is.

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Whenever you are about to find fault with someone, ask yourself...: What fault of mine most nearly resembles the one I am about to criticize?
-Marcus Aurelius