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É necessária uma delicadeza muito especial para fazer, de uma história de suspense, várias histórias de amor. Mas a resposta está na tragédia: o mal original está muito distante, e vivemos apenas suas consequências. Nesse contexto, os símbolos do horror têm uma dimensão de profunda, inescapável tristeza, e então faz perfeito sentido que o jogo te guie no cabresto: não há quebra-cabeças para resolver. Os fantasmas estão implorando para que você conheça a história deles. O que você tem que resolver é aquilo que eles também não entendem sobre suas próprias histórias. É também aí que a fronteira do psicológico e do sobrenatural precisa ser rompida. Inúmeras janelas irreais para uma realidade acontecem por mudanças de ponto de vista e técnica narrativa -- mas não é à toa que, o tempo todo, existem efeitos de tela e moldura. O efeito sobrenatural é psicológico, tanto sobre Lixuan quanto sobre você, na medida em que você só pode compreender aquilo que as entidades que te assustam compreendem.
Por isso, a relação com os vivos e com os mortos tem tanta força. A tragédia já aconteceu, mas continua a acontecer mesmo que você a desvende. O mundo de Firework é inteiro de papel, literalmente: e no papel que se escrevem as verdades a serem descobertas, é do papel que se tiram os simbolos para materializar os desejos dos personagens e é no papel que sai uma foto tirada sem querer numa cabine. E papel pega fogo.
Por isso, a relação com os vivos e com os mortos tem tanta força. A tragédia já aconteceu, mas continua a acontecer mesmo que você a desvende. O mundo de Firework é inteiro de papel, literalmente: e no papel que se escrevem as verdades a serem descobertas, é do papel que se tiram os simbolos para materializar os desejos dos personagens e é no papel que sai uma foto tirada sem querer numa cabine. E papel pega fogo.
Even though figuring out words and phrases is the game's main driving force, Chants of Sennaar uses language as a mechanic a lot less than you'd think, at least in any way that's not purely instrumental.
As a matter of fact, languages are treated less as open-ended communication systems, that not only represent but create concepts, than a series of near-perfect, near-equivalent logical cyphers. So much so that the game will never let you assume the wrong meaning of glyphs for too long and will, in fact, go to great lengths to actually avoid communication: it is a very silent, lonely and observational game about closed referential systems. This greatly frustrated me at first, but it does reflect the rigid social structures you'll come across and indeed the atrophy that the lack of cultural exchange brings. Treating language as a puzzle makes sense in a world that is framed by gigantic, virtually infinite physical structures that replicate each social order.
Which is why the decision to use a fixed camera enriches the game's own visual language: by framing the structures for you, it alternates between claustrophobia and fascination, showing what that piece of the tower feels like. So the very architecture of the tower becomes a narrative tool that helps you understand the many peoples you meet, maybe more than their words.
Side note: Cistercian numbers fucking rule
As a matter of fact, languages are treated less as open-ended communication systems, that not only represent but create concepts, than a series of near-perfect, near-equivalent logical cyphers. So much so that the game will never let you assume the wrong meaning of glyphs for too long and will, in fact, go to great lengths to actually avoid communication: it is a very silent, lonely and observational game about closed referential systems. This greatly frustrated me at first, but it does reflect the rigid social structures you'll come across and indeed the atrophy that the lack of cultural exchange brings. Treating language as a puzzle makes sense in a world that is framed by gigantic, virtually infinite physical structures that replicate each social order.
Which is why the decision to use a fixed camera enriches the game's own visual language: by framing the structures for you, it alternates between claustrophobia and fascination, showing what that piece of the tower feels like. So the very architecture of the tower becomes a narrative tool that helps you understand the many peoples you meet, maybe more than their words.
Side note: Cistercian numbers fucking rule