The exploration of the protagonist during the first three fourths of the game is really interesting. You can see hints of his psychological disorder all around. After killing the homeless person in the first level, someone not involved with the real crimes he wanted to stop, the game starts showing signs that this would be a pretty surreal adventure. This first unnecesary kill was so traumatic for the characther, this hobo is the one teaching to kill in the distorted projection of mind that is the tutorial.
I feel that he at first was living a "hero" fantasy. The newspapers talking about America, going out to kill drug dealers, "saving" a hooker holding her in his arms like an action movie and letting her stay in his house, seemingly a replacement for the girlfriend that was not anymore, the clerks and barmans having the same face while making supportive actions to him...
But then he starts to have hallucinations, exacerbated after the mission where he confronts a SWAT team and his fantasy to cope with the emptiness of his life crumbles down while presenting him images that remind him of the guilt from the inhuman actions he commited. The nice clerks get replaced by an aggresive man we later find out has the face of the guy who the protagonist's girlfriend cheated with. This hints that our characther was an aggresive person all along and that may have been the cause of him being left alone.
However, after a hospital scene that shows the protagonist's dementia, the end of the game goes with a more generic action route with the protagonist embracing his psychotic side while fighting the bosses of the syndicate he was dealing with to get ReVeNgE (in a fight that visually reminded me of Streets of Rage 2) even if the framing conversations with his masks in the future shows us he is still tormented by what he did during July 1989.
Moreover, there's an epilogue that robs the player of the more interesting ambiguity and theorization from the main story (and brings a paradox because the main characther in the main story kills the one from the epilogue and the main characther of the epilogue does the same to the one from the main story in the epilogue???) by stopping what could have been an interpretation of fuzzy memory recalling about the cleaning man in the protagonist's building being the same that in the corresponding level would be a witness to his carnage (another instance of the protagonist finding something to blame himself), by concluding with a plot twist that he was in fact real, the person behind the phone calls that gave missions, and that it was just because he was having fun with another guy doing these things.
I feel that he at first was living a "hero" fantasy. The newspapers talking about America, going out to kill drug dealers, "saving" a hooker holding her in his arms like an action movie and letting her stay in his house, seemingly a replacement for the girlfriend that was not anymore, the clerks and barmans having the same face while making supportive actions to him...
But then he starts to have hallucinations, exacerbated after the mission where he confronts a SWAT team and his fantasy to cope with the emptiness of his life crumbles down while presenting him images that remind him of the guilt from the inhuman actions he commited. The nice clerks get replaced by an aggresive man we later find out has the face of the guy who the protagonist's girlfriend cheated with. This hints that our characther was an aggresive person all along and that may have been the cause of him being left alone.
However, after a hospital scene that shows the protagonist's dementia, the end of the game goes with a more generic action route with the protagonist embracing his psychotic side while fighting the bosses of the syndicate he was dealing with to get ReVeNgE (in a fight that visually reminded me of Streets of Rage 2) even if the framing conversations with his masks in the future shows us he is still tormented by what he did during July 1989.
Moreover, there's an epilogue that robs the player of the more interesting ambiguity and theorization from the main story (and brings a paradox because the main characther in the main story kills the one from the epilogue and the main characther of the epilogue does the same to the one from the main story in the epilogue???) by stopping what could have been an interpretation of fuzzy memory recalling about the cleaning man in the protagonist's building being the same that in the corresponding level would be a witness to his carnage (another instance of the protagonist finding something to blame himself), by concluding with a plot twist that he was in fact real, the person behind the phone calls that gave missions, and that it was just because he was having fun with another guy doing these things.
6 Comments
Pero en ese caso no lo entiendo muy bien: sí se rie del jugador que vino por la resolución, ya que se burla en su cara con un final anticlimático temáticamente; pero para el que quiere violencia sin sentido, sí tiene su dosis al final con la masacre hacia la policía que sacó al protagonista de sus nubes de fantasía y la venganza hacia el cartel ruso 😵💫. Pensé que iba a tomar un camino más introspectivo el final (ya que venía con todas esas alucinaciones que demostraban que "Jacket" no es una simple máquina de matar), tal como en Lisa the Painful que presenta un protagonista también en un mundo de mierda queriendo sentirse un héroe y terminando resolviendo las cosas con violencia, pero con consecuencias directas.
En particular con ese ending siempre lo interpreté como otra burla hacia el jugador, y la más grande de todas. Así que te gusta tanto este juego donde solo matas gente hasta ser completista? Bueno, toma, ending de mierda para vos. En general, es un juego que trata de hacerte sentir lo peor posible por lo que disfrutas 🤣
Pero tenés razón que estaría bueno que tuviera consecuencias directas por las acciones del protagonista. Según tengo entendido igual, eso se ve en la secuela. No te podría decir por qué el segundo se me hizo medio una paja y nunca pude jugar más de 2 horas. Seguro lo juego después de volver al primero.
Pero tenés razón que estaría bueno que tuviera consecuencias directas por las acciones del protagonista. Según tengo entendido igual, eso se ve en la secuela. No te podría decir por qué el segundo se me hizo medio una paja y nunca pude jugar más de 2 horas. Seguro lo juego después de volver al primero.
Ah si, eso mismo lo hizo Drakengard: el protagonista es un genocida y desbloquar más endings solo hace que la historia termine de mal en peor... Pero no de manera decepcionante, en todas ellas hay algo importante que ocurre narrativa o experimentalmente. Si tan solo ese juego tuviera el estilo con filosofía de Hotline Miami (en vez de aburrirte y solo querer presentar puntos de trama controversiales pero sin profundización como acá) y Hotline Miami los finales al estilo de Drakengard sería lo mejor en los dos mundos
de la nada aparece la estatua de ending E pero retrowave en HM Ugh, odio a Yoko Taro. Tenes razon, estaría bueno un ending que tenga mas profundidad 🤔
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fancyynancyy
1 year ago