There's a moment in Control's AWE dlc that i really love and its when Jesse takes the elevator and Langston starts talking to her even though she cant respond
His line, "We're SUPPOSED to be on the same TEAM" is so powerful to me and he says it so earnestly like i really just love it, and it made me love his character even more. I hope they do more with him in the next game, and have Jesse address that sort of mentality that the Bureau has
In the same breath, i love the next moment where he just starts GOSSIPING about Darling because 1. I cant get enough of Darling and 2. Theres apparently some drama behind the scenes and i MUST know about
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decent video covering the work of kitty horrorshow. for the most part he just goes through each game and relays the plot, but it is interesting to see them all laid out together, how they are similar and how her work has evolved and the common themes that she keeps revisiting in each one. his analysis mainly focuses on the Places that she explores in her games; the environments, the haunted houses, and how they are all "built wrong." he talks about haunting of hill house, house of leaves, myhouse.wad, vivarium, and a few other movies towards the end.
my own ramblings about some of the games under the cut :-)
one thing i've always projected onto haunted houses, and especially some of the hostile, haunted places prevalent in kitty horrorshow's work, is a trans narrative *everyone pretends to be shocked*
sagan does mention this briefly in the video, and he admits that it's not his personal interpretation that he plans to talk about (which is totally fine) but that is very obviously there, these themes of autonomy and transformation in these works all go hand in hand with gender identity, with the trans/nb experience.
so when people talk about a house being "built wrong" it always reminds me of the trans narrative of "born in the wrong body." i know this isn't necessarily a mindset a lot of people still agree with anymore now that our language around being trans has evolved, but i also know there are some people that do still feel this way regardless, and even if we don't completely consider ourselves "born in the wrong body" i think the majority of us do have a very... contentious relationship with our bodies.
i always see a house that is intent on haunting you as a body that is inhospitable.
we see people in kitty horrorshow's work that try and change the world around them, or failing that, that literally change themselves. in rain, house, eternity, the structure we've been traversing is someone who has broken free of her physical form and been reborn into something that she chose for herself, after her community forced her down a path that she did not want. sagan brings this up again at the end of his analysis, where he talks about the way the environment is molded by the player as well as the way the player is molded by the environment. he mentions the movie vivarium, and how people are forced into these littles boxes (ie the nuclear family, gender roles, preconceived stereotypes, etc), whether they want it or not, by their environment and the societal expectations that are a part of that.
but again, the environment can also be molded by the player; it is influenced by the characters within the narrative. the environment grows flesh and teeth and has a heartbeat and i like this idea that our environment is alive and is also flesh and blood that can be reflected back at us. it could be cathartic or horrifying depending on how you feel about your body, about your experiences, about how society perceives you. in the end we can become the structure, we can change ourselves and become our environment, undefinable and infinite, or we can be restricted by it, and forced into something we don't want-- made inhospitable.
there is both a lack of agency in the house being built, but a reclamation in the haunting as someone or something transitions and fills the empty rooms with a new form. stone to flesh or flesh to stone as it is in rain, house, eternity, or drywall to glitches and blood like in anatomy. inhospitable but at least it's mine.
in 000000FF0000, the game itself doesn't even want to be found. it's a living thing that's hidden itself away and is in great pain. it's restricted by its own code, it longs for the seasons and the sea but it can only think about the cages it's been locked in. the only agency it finds is in shutting itself down after the player reaches a certain point. we are forced to be perceived by others, by society, even when we are in pain, even when we aren't really ourselves, due to how we look, how we were born, or whatever other cages society has put us in. the lack of autonomy, the lack of control in our own creation... this game is actually one of the ones that have stuck with me the most, i think it's extremely well executed and impactful and is possibly her second best behind anatomy.
and then there's circadia-- the girl returning to her childhood home, seeing her childhood and memories and her body reflected back at her in this house. wanting to hurt it, feeling trapped by it and how she used to be. the people there that don't really see her as she is now, the trauma literally in the walls. she laments her apartment, missing it "like a lover" because that's the place she carved out for herself versus this house she was forced into, this house that's always there and always waiting for her to come back even though she clearly never wants to come back.
when you're trans, there are always people trying to get you to "come back," to be like you used to be. looking back at yourself, childhood photos and old memories of when people treated you differently. your body a new space now but there are still the bones of that old house you left behind. the world trying to force you back into the house even if it doesn't fit anymore, even if it's painful, even if all you can do is haunt it.... the code in 000000FF0000 confining the game to exist in one way even though it hurts them, no other option but to bury themselves deep in various folders within your computer and hoping to never be found. hiding from the world because there are people that insist these things are hardcoded into your biology, that predetermine how you have to live and there is no other way for you to live. and if you go against that code it breaks the game for them... does that make sense?
and in rain, house, eternity, she demolishes the house and turns herself into stone, she finds autonomy despite what the game wants and what the world wants. indefinable and infinite because there is no binary and the walls of this house are your house to destroy and rebuild as many times as you want in any way that you want.
i definitely recommend kitty horrorshow's work if you've never played any of her games before. she's most well known for anatomy, which i didn't really touch on because it's so popular (for good reason) she does have a few twine games, hornets and wolfgirls in love, and then circadia is just a 5 page flash-fiction. and of course i also super recommend rain, house, eternity, and 000000FF0000. i already linked her itch page up there but here it is again! check her out.
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Okay honestly the possibility (or more accurately, the guarantee) that you will not be able to experience everything that patho2 has to offer on a first playthrough is not actually a good thing. It's not smart I mean. Like the dual factors of "this game is extremely difficult and tedious and attempts to feel joyless and hopeless and unrewarding as often as possible" and "there is no way to have a complete experience of this singular story unless you play it multiple times" should not exist simultaneously.
And of course most of the easily missable things are not integral to the basic storyline but that is not a positive thing either. (That just means that most of the missable activities CANNOT be important; and while nearly every event is missable, few seem to have consequences for doing so.) Everyone knows about the percentages. Most people don't even make it to the end of a first playthrough. If you want people to finish a game like this you have to make them actually feel like theyve been rewarded with Knowing the game in doing so. Quality of life "upgrades" like sprinting and fast travel and quest markers and more complex gameplay mechanics to engage with do not counterbalance an overabundance of unnecessary time-wasting encounters that are too brief and devoid of narrative substance to call side quests and an inherent inability to feel as though you've actually completed the game by the time it ends, especially when the story itself is already so simplified in comparison to the original. There was a lot I legitimately enjoyed about the game, but “was that really it?” was definitely the predominant thought in my head by day 11.
They give you so much shit you can do at any given moment and some of it is genuinely fascinating, sure, but how much of it really makes you feel like it was worth the time and effort? Not in terms of conventional player reward (its path of logic after all) but by surprising you, shattering your sense of security, giving you something interesting to think about, teaching you about one or more of the characters, or fundamentally changing how you interact with the game world? There's a difference between fighting a hopeless and desperate uphill battle and just getting tricked into using precious time to pursue hollow endeavors by a game that doesn't agree with you. P2 is thoroughly bloated but at least half of its weight is fat that I would say could be trimmed away without significantly changing the experience but that would imply it wasn't put there deliberately. And I guess none of that even matters either when the only thing truly required to get whichever ending you desire is making it to the end of the game regardless of the state of the town or absolutely anyone in it other than yourself. BUT IT LOOKS GREAT! That it truly does.
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