now i stopped playing pentiment in the middle of act 2 and just checked wiki articles to see what takes place in the rest of the game so maybe im missing some crucial gameplay that wouldve fixed all my issues but. at the risk of being excommunicated (lol) i was rly disappointed w the games structure and thats why i didnt keep going. dgmw i really enjoyed the setting and most of the gameplay and throughout act 1 i was really invested in the story and mystery and investigation, and the game was really cool in a lot of ways. but. in the end. a mystery/investigation story that doesnt have an answer and whoever you accuse will be found guilty and there is no right or wrong just does not work for me and i can only see it as a poor decision.
yes ik that in the end you can uncover the "big bad" mastermind who provoked the murders, but to me putting a twist villain who isnt the actual culprit but who motivated the culprits in the end of the game doesnt make up for, like, the rest of the game? an investigation story where your investigating is meaningless does not make sense to me. was that the point of the game, maybe? to make me feel like nothing i did in the game mattered and i had no power over the setting? i certainly felt that way at times - in act 2, i felt like i had kind of spent the entire first act playing a role (in the rpg sense - as in it definitely felt as if i got to make a lot of choices about who andreas is, what he values, what his morals are) only for that to not matter at all as in the next act i had to play as someone who had made choices that seemed meaninglessly selfish and was in the uncomfortable situation of apologizing in-character for stuff that the character i had previously been playing as, who i thought i was making meaningful choices as, who i had been trying to make as considerate and kind as possible, would not have done.
i think if the point is that i dont actually have control in this game, not over the main character, not over the events, not even over figuring out the truth, then yeah, i had that impression. but thats not really the game i thought i was playing? i thought i was playing a game where my choices mattered and where i was solving a mystery and that was not the case.
idk. maybe i had specific expectations i shouldnt have had, or maybe i just failed to get something about the game, but despite being very beautiful in its graphics and having a lot of fun stuff and interesting characters.. when i finished act 1 i still thought "fuck, i didnt play well enough, i didnt uncover all the clues i shouldve and i didnt get to the correct conclusion, im gonna need to replay this to figure out who the actual culprit was!"... only to find that actually what felt like i had failed this part of the game was the intended way it would go down, and i even had accused the person who imo was the best choice of culprit.. i feel like getting to the end of an investigation arc with what should have been the most satisfying ending for me and instead thinking i had fucked it up and played wrong is a very unsatisfying way to write a mystery and it put me off enough that im not really interested in doing it all over again just so i can finish the game.
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Oooooohhhh wait ok. Don't answer that long ass ask if u don't want. Think there are definitely things that like, are ALWAYS Jason, like his shit ass humor and work ethnic and thought process when tackling a problem, but also time certainly would've influenced him to be that stoic character u see often 😆👍 jason is very different depending on where he has spent: Jason in New Rome vs Jason in the vs Jason on the argo vs Jason at edgarton ... Hope we can see Jason in the underworld. Maybe he's be super low-key.... He seems to get more relaxed as the books continue, so this him started as a strict scary praetor makes sense, regardless of his personal feelings, he is putting that job and forced leadership role first :)
ofc i will answer it 👰♀ loml, joy of my day, laugh of my year.
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fr incredibly epic subversion move in creep 2 is denying the audience the "understanding" that our perspective is that of Neutral Objective Arbiter. we aren't shown arguments of the protagonist's unfiltered, private thoughts & feelings through visuals or dialogue for us as obstensibly our way to believe she's vulnerable: she is, we understand she understands this, and then we aren't privy to any more "proof" of this by observing whatever attacks or simply emotional duress. we can assess and judge and guess about this person, but the movie doesn't let us believe we're Not, and that instead we're simply "understanding" the conveyed factual information. the killer man uses performance as a way to generate vulnerability, the protagonist young nonwhite woman uses performance to strategically interrupt such efforts from malicious to exploitative to violently so men on like any given tuesday, and the killer man's approach to performance is not truly equipped to react to her adaptation and flexibility; his loss of control turns vulnerability back around on him, whereupon he stumbles and flounders and is knocked off course, while existing in continuous vulnerability even when succeeding at her efforts is, again, any tuesday for the protagonist. putting him in a position of having something to prove just by expressing skepticism abt his threat of eventually killing her. when he tries to leverage Gender to discomfit her by saying she (or, they both) should undress, only to be the one clearly discomfited when instead she simply does so with her nudity a matter of fact (and not really shown, b/c the killer guy's camera pov doesn't just provide some full body shot, he's directing it down, around, at her set, unbothered expression, Showing his own vulnerability in the situation now, unable to deal with her body outside his effort to make its very existence a power play. but isn't being a woman sexual, which is to say, inherently available for consumption by men???). when we get the killer guy's pov as he is looking for the protagonist around the house, increasingly turning it into a threatening sort of hide and seek (kind of creeping around, creepily, even) and we wait for his, and our, expected vision of her being Afraid and Menaced and possibly Attacked, only for her to jumpscare him, and us, knock him on his ass and laugh at him. the killer's like melancholic musings as established in the first film being a situation in which the protagonist plays into the gender of "women provide comfort, emotional support, intimacy!" to extend the relative vulnerability of that and prolong the delay of any violence, how far-fetched....while this narrative of her navigating & kind of heist breaking out of this danger doesn't ask her to like "overcome" or "transcend" that vulnerability like oh hooray she's now Strong enough to win, Too Strong to be thusly vulnerable ever again; nor ever puts forth that she can, or should, ever just turn the situation around completely to win. jumpscaring the guy? still happening in the context of her performing as, at most, "playing along." he's trying to get the advantage over her, she's trying to more so establish / prolong a dynamic of closer to equals to protect herself and interrupt this: despite her inability to take control of the situation / name the game in any lasting way: killer guy is still driven by ego. in the end it's that ego that makes him vulnerable enough for her to again surprise him and us with the final physical fight maneuver to get away, in that last minute and culmination able to drop any performing as her survival strategy, but still able to take advantage of his own performance as means of control and driven by ego
this also compared to horror genre ostensible commentary by way of "subversion" that's just still also misogyny: just Showing women's pain? what else is new. we're asked to recognize it not by understanding it's there as a matter of fact, but by observing and assessing some unfiltered display of it. or the classic of "but if we put a man through the same violence or pain. makes you think huh." or ohh we posited this disabled person as a scary threat but now they're dead b/c they weren't the real threat, makes you think huh? or the classic of "but if we keep the disability as threatening & scary but we also kind of ask the audience to Pity it. makes you think huh." like no, the power dynamic of [the audience (with a clear assumed perspective) is neutral! they must be able to assess and judge The Other onscreen] is there. pity requiring the power difference to Deign to extend it. "well disability is scary but some things are scarier" wow. indulging in [women experiencing violence / harm] as privy observers b/c it doesn't exist if you're not looking right at it, judging it as legitimate for yourself rather than via having to accept the character understands it as legitimate for themself, whether their most unfiltered (in an expectedly externalized way) pain or even simply what was done to them was shown directly to you or not. that women trying to insulate/extricate themselves from harm must also "look" unusually elevated & intense & extreme to be "real," it can't be so matter of fact and even potentially made invisible as for us to be Surprised by the efforts of the protagonist here, and have to wonder what she'll do next, and not be convinced she'll make it out of this forever through taking control and transcending her vulnerability
point is like yeah any character but also any person Making billions should've watched creep 2. the power dynamics not only re: successful Gender relevance in the text but also in the genre of horror, of film itself. the potential violence of looking? that's made constantly relevant. the audience does not get to understand itself as impartial judge. the protagonist doesn't have to earn anything from our assessment: this is a strategic heist, not, again, some kind of commentary on [gender/ed violence, huh?] that presents a Narrative Arc of a woman's who "overcomes" this by becoming "better" (stronger, braver, smarter, etc....). again, with the premise of an egotistical murder man who uses performance and wants to himself be assessed for his own power trip and amusement, the protagonist already prepared to perform in response to such efforts has a survival skill that completely eclipses the ability of murder man, who can only be on the offensive, while not being a mere [just being on the offensive in turn] response which would only become a Power Levels competition. it's not about "winning" at someone else's game that shouldn't exist, it's just about getting through it until there's the opportunity to get away.
and, again, like that we and the protagonist doesn't Need to know if he really means to kill her for real. uneven power and misogyny and the threat of a man and what room there is for her to act in ways that throw off, interrupt, divert, but don't make overt that she's deliberately doing so or threaten in turn? we can understand that this woman is already at all prepared to navigate that; the killer man is not (who, in a true "that is a choice" element of the first movie which is more [whatever] and not required viewing for the vastly superior sequel imo, has implicitly killed mostly to all men before (Choicedly b/c there is given this angle of like, "performing" any affection towards these men. that and the "uh oh! he's Weird!" angle carrying so much more weight like, zzz to the first one. "uh oh! he's a man immediately trying to fuck with this woman!" in the second being much more actually interesting, as well as the performance of / desire/expectation for affection, intimacy from a woman amidst this context of violence like yeah and that's cishet ideals for you!)
anyways yeah lot of media analysis, the pov & not like "negotiating" with the audience to interact w/the understood theme of gendered power dynamics, the audience not getting to think it is granted an objective omniscience, the [this is An Other Person] turned on the protagonist made Relevant, our lack of complete access to her is Relevant, we do not get to expect we are entitled to that full access or forget that we're observing as An Other Person ourselves to instead believe we're a removed, impartial judge who has to be presented with and convinced of every element out here. much more to say but this is like effort #5 & we can't be here all day, gotta throw down a draft at some point, and can't readily rediscover some short essay about it from closer to its actual release. well, it pwns. like i was saying the handling of gender / power going on in there is >>>>>>>> like god knows horror material generally including that which tries to be About it too, but also really just anything in any genre. billions should've watched creep 2 & been different now. imagining s5 where after axe gets peak horribly possessive towards wendy, being outwardly petty towards her over her also shit & boring & Superior artist bf, stalking her about it, sabotaging the relationship about it, secretly taking the portrait of her that he resented her having before....and then we get the repulsive "romantic" scene about wendy going "aw gosh :) you only want me to be [single] so You get access to me!! :))" like and then axe doesn't show up on the helicopter in the end while wendy's like haha i knew :) b/c she rendezvoused with him and killed him. society if only. superhell for real
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