clyde

50 Short Games by thecatamites (Game Club)

Recommended Posts

The fading into and out of blackness, and the slow rising and descending remind me of fading in and out of sleep. It's like sitting in bed in the morning knowing that you have to get up soon, but not wanting to fully wake up. But in this metaphor, I'm not sure if waking up corresponds to rising out of the abyss or falling into it.

That's a cool interpretation.

Share this post


Link to post
Share on other sites

I think Moppy Returns shows a representation of moments of self-doubt and possibly overwhelming depression. Moppy Returns feels like an rethinking of Pete's scene from Operative Assailants. Instead of depicting the appearance that an action is going to be futile before necessitating an attempt (like in Pete's scene), Moppy Returns shows a protagonist that is trying to pretend that self-doubt (or possibly depression) will not be a factor in their performance so that they can push forward. This idea that everything is just a matter of will is shown to be absurd when Dark Moppy repeatitively knocks the character into a cutscene depicting a monologue about their resulting inability to get the key. The pacing of Dark Moppy's descents upon Moppy and the omnipresent (minor-chord?) tone reinforce the oppressiveness of the inevitability that the task will not be completed (in contrast to the seeming ease of having all the necessary elements on one screen).

Share this post


Link to post
Share on other sites

I accidentally played Employee Report instead of Moppy Returns. I think the web version was sort of broken, though it's sort of hard to tell with these games. I fell through the bottom of the map and the text stopped updating.

Share this post


Link to post
Share on other sites

I accidentally played Employee Report instead of Moppy Returns. I think the web version was sort of broken, though it's sort of hard to tell with these games. I fell through the bottom of the map and the text stopped updating.

Now I wonder how to do this.

Share this post


Link to post
Share on other sites

Creamerz feels like an off-brand version of an American Greetings property (Strawberry Shortcake and the Care Bears were created by a greeting card company). But while those narratives include personified opposition that positivity can conquer, Creamerz shows us a saccharine, intentional optimism with no explicit opposition which leads us to assume that the optimism itself may be a flaw. Self-care seems like a low priority in the beach-scene where the creamerz is melting away. It's possible that the dogmatic positive-thinking is blinding the sweet treats from their actual needs of survival. And once I see this, it occurs to me that maybe Dipped In Chocolate isn't actually shy, that's just the protagonists rose-colored version of getting a cold. shoulder. The reasons for non-interaction with the other creamerz in the downtown-scene is possibly an excuse to escape the hurtful realization of the protagonist's inability to socialize with them. Throughout the game I sense that whether or not the reality of the situation is non-ideal, the hopeful thinking distorts the protagonist's perception enough to maintain their isolation and non-interaction. There is the exception of the friend at the store who in encouraging this attitude. 

Share this post


Link to post
Share on other sites

I suggest turning your volume down before loading this game.

 

That awful beeping noise sounded to me like an alarm clock or a dial tone or 

? I'm not positive why, but it made me think of some kind of high frequency short burst radio signal (Note: I don't know anything about radios!). It also synced up with the fire rate of the little tank for me; it seems like it gets out of sync depending on how quickly you click through the dialog, but the timing definitely felt intentional. That suggested to me that the tank is attempting to communicate with the UFOs, not destroy them. Combined with the mention of UFO iconography, it made me wonder if part of the idea of this game is pointing out how the default portrayal of aliens is that they're aggressors to be fought rather than other beings to communicate with.

 

Also worth pointing out, I think, is that it's impossible to stem the tide of oncoming UFOs; the fire rate is such that you can only destroy 1/2 at most.

Share this post


Link to post
Share on other sites

I've been think a lot about computer-games that  have minimal interaction and are kinda like interactive picture-books. UFO Panic Attacks is a good example of one. Adding or subtracting layered elements with mouse-clicks and giving us an animation that we can control slightly, what does this do for the story? When the "Space aliens were climbing through the window" layer pops in, I get the sense that the frightful fantasy is developing on top of the room. UFO Panic Attacks reminds me a lot of Night Thoughts, Some Bee Ess and maybe Anxiety World; all of these games have hypnagogic themes. Black backgrounds with light-colored lines (with the exception of Some Bee Ess) give me the impression of not only night-time, but of the way a dark wall can become a screen for my hypnagogic visual projections as I lay in bed before I'm tired, not wanting to be exhausted the next day at work or school. In my own life, I tend to associate these occurences with lucid-dreaming ( by category, not by synchronicity). Because of this I'm actually surprised that I don't see any games about lucid-dreaming; I see the interests being so close to each other. 

As far as the specificity of the subject matter goes, I can identify. The fate powers of extraterrestials in Close Encounters of the Third Kind was involuntarily paired with tabloid photos of grey aliens and that television show that was my first experience of a disingenious documentary series. What was it called? It had the guy talking and renactments. Ah yes, Unsolved Mysteries. For some reason, that show managed to blend X-Files style fictions with 60 Minutes news shows to encourage my desire to give supernatural occurences more suspension of disbelief. I suppose I was christian at the time too, so I had all sorts of faith-based understandings of reality developing in me. Extraterrestial humanoids seemed to be all over night-time network television when I was a kid. I kind of doubt that the same saturation exists for people now. You really have to look for an alien-thread rather than stew in an alien-fad these days.

 

Share this post


Link to post
Share on other sites

Just in case anyone plays with the idea that "To Eat Hen Young" is an anagram, I did a little bit of research on it and I'm never going to consider anagrams as potentially applicable to interpretation again.

Negate Thou Yon
Negate Youth No
Negate Youth On
Goatee Hunt Yon
Goatee Oh Tunny
Goatee Ho Tunny
Goatee Thy Noun
Ethane Tong You
Ethane Young To
Ethane Gout Yon
Ethane Gouty No
Ethane Gouty On
Ethane Guy Onto
Neonate Thug Yo
Neonate Ugh Toy
Neonate Hug Toy
Neonate Guy Tho
Neonate Guy Hot
Neaten Tough Yo
Neaten Ought Yo
Neaten Go Youth
Neaten Gouty Oh
Neaten Gouty Ho
Neaten Guy Hoot
Uneaten Hog Toy
Uneaten Goo Thy
Eaten Thong You
Eaten Nought Yo
Eaten Tough Yon
Eaten Ought Yon
Eaten Young Tho
Eaten Young Hot
Eaten Gouty Hon
Age Tonne Youth
Age Tenon Youth
Nonage They Out
Nonage Hey Tout
Nonage Yet Thou
Tonnage The You
Tonnage Hue Toy
Tonnage Hey Out
Tonnage Ye Thou
Tangent Hoe You
Agent Honey Out
Agent Hooey Nut
Agent Hooey Tun
Agent One Youth
Agent Eon Youth
Togae Honey Nut
Togae Honey Tun
Togae Hoe Tunny
Togae They Noun
Outage Hen Tony
Outage Then Yon
Outage Neon Thy
Outage None Thy
Gate Honey Unto
Gate Neon Youth
Gate None Youth
Henna Gooey Tut
Henna Toe Gouty
Henna Yet Outgo
Neath Tongue Yo
Neath Gooey Nut
Neath Gooey Tun
Neath One Gouty
Neath Eon Gouty
Neath Yen Outgo
Neath Toe Young
Thane Tongue Yo
Thane Gooey Nut
Thane Gooey Tun
Thane One Gouty
Thane Eon Gouty
Thane Yen Outgo
Thane Toe Young
Hyena Gone Tout
Hyena Tongue To
Hyena Tone Gout
Hyena Note Gout
Hyena Net Outgo
Hyena Ten Outgo
Hyena Tune Togo
Heat Tongue Yon
Heat Neon Gouty
Heat None Gouty
Heat Tone Young
Heat Note Young
Hate Tongue Yon
Hate Neon Gouty
Hate None Gouty
Hate Tone Young
Hate Note Young
Theta Gooey Nun
Theta One Young
Theta Eon Young
Yeah Tongue Ton
Yeah Tongue Not
Yeah Tonne Gout
Yeah Tenon Gout
Nae Toughen Toy
Anyone Huge Tot
Anyone Get Thou
Anyone The Gout
Anyone Toe Thug
Anyone Tote Ugh
Anyone Tote Hug
Anent Ego Youth
Anent Gooey Hut
Anent Hoe Gouty
Anent Hooey Gut
Anent Hooey Tug
Anent Hey Outgo
Tenant Gooey Uh
Aeon Tongue Thy
Aeon Gent Youth
Aeon Hone Gutty
Aeon Then Gouty
Aeon Yet Nought
Atone Huge Tony
Atone Hen Gouty
Atone Honey Gut
Atone Honey Tug
Atone The Young
Atone Yen Tough
Atone Yen Ought
Atone Ye Nought
Oaten Huge Tony
Oaten Hen Gouty
Oaten Honey Gut
Oaten Honey Tug
Oaten The Young
Oaten Yen Tough
Oaten Yen Ought
Oaten Ye Nought
Notate Huge Yon
Notate He Young
Notate Eh Young
Notate Hone Guy
Ante Toughen Yo
Ante Enough Toy
Ante Gone Youth
Ante Gooey Hunt
Ante Hone Gouty
Ante Honey Gout
Neat Toughen Yo
Neat Enough Toy
Neat Gone Youth
Neat Gooey Hunt
Neat Hone Gouty
Neat Honey Gout
Tauten Honey Go
Tauten Hey Goon
Attune Honey Go
Attune Hey Goon
Eat Toughen Yon
Eat Enough Tony
Eat Ontogeny Uh
Tea Toughen Yon
Tea Enough Tony
Tea Ontogeny Uh
Eta Toughen Yon
Eta Enough Tony
Eta Ontogeny Uh
Ate Toughen Yon
Ate Enough Tony
Ate Ontogeny Uh
Teat Enough Yon
Teat Hone Young
Aye Toughen Ton
Aye Toughen Not
Aye Ghetto Noun
Aye Tonne Tough
Aye Tonne Ought
Aye Tenon Tough
Aye Tenon Ought
Aye Tone Nought
Aye Note Nought
Yea Toughen Ton
Yea Toughen Not
Yea Ghetto Noun
Yea Tonne Tough
Yea Tonne Ought
Yea Tenon Tough
Yea Tenon Ought
Yea Tone Nought
Yea Note Nought
Hogan Tenet You
Hogan Teeny Out
Hangout Nee Toy
Hangout Teen Yo
Hangout Tee Yon
Hangout Eye Ton
Hangout Eye Not
Hangout One Yet
Hangout Eon Yet
Hangout Tone Ye
Hangout Note Ye
Hangout Yen Toe
Naught Eye Onto
Naughty Nee Too
Naughty One Toe
Naughty Eon Toe
Hoagy Teen Unto
Hoagy Tone Tune
Hoagy Note Tune
Taught Eye Noon
Nag Eyetooth Nu
Gonna Teeth You
Gonna Tee Youth
Tango Nee Youth
Tonga Nee Youth
Nougat Thee Yon
Nougat Teeny Oh
Nougat Teeny Ho
Nougat Hone Yet
Nougat They One
Nougat They Eon
Nougat Hey Tone
Nougat Hey Note
Guano Thee Tony
Guano Teeth Yon
Guano Teeny Tho
Guano Teeny Hot
Guano They Tone
Guano They Note
Agony Thee Unto
Agony Teen Thou
Tang Hooey Tune
Gnat Hooey Tune
Gaunt Teeny Ooh
Gaunt Teeny Oho
Gaunt Honey Toe
Gaunt Hooey Net
Gaunt Hooey Ten
Toga Honey Tune
Goat Honey Tune
Yoga Teeth Noun
Than Gooey Tune
Haunt Teeny Goo
Haunt Gooey Net
Haunt Gooey Ten
Yahoo Tenet Gnu
Yahoo Tenet Gun
Yahoo Gent Tune
Oath Teen Young
Oath Tongue Yen
Ahoy Tongue Net
Ahoy Tongue Ten
Hay Tongue Tone
Hay Tongue Note
An Eyetooth Gnu
An Eyetooth Gun
Anon Thee Gouty
Annoy Thee Gout
Annoy Tee Tough
Annoy Tee Ought
Annoy Huge Tote
Taunt Ego Honey
Taunt Gooey Hen
Tuna Gent Hooey
Tuna Gooey Then
Aunt Gent Hooey
Aunt Gooey Then
Aunty Gene Hoot
Aunty Thee Goon
Yuan Gene Tooth
Yuan Teeth Goon
Yuan Ghetto One
Yuan Ghetto Eon
Yuan Gotten Hoe
Nay Toughen Toe
Nay Enough Tote
Any Toughen Toe
Any Enough Tote
Oat Toughen Yen
Auto Teeny Hong
Auto Gent Honey
At Ontogeny Hue
At Tongue Honey
Taut Gone Honey
Tau Ontogeny He
Tau Ontogeny Eh
Ya Toughen Tone
Ya Toughen Note
Ay Toughen Tone
Ay Toughen Note
A Gee Hoot Tunny
A Gee Toothy Nun
A Gene Ooh Nutty
A Gene Oho Nutty
A Gene Toothy Nu
A Gene Thou Tony
A Gene Youth Ton
A Gene Youth Not
A Thee Gunny Too
A Thee Young Ton
A Thee Young Not
A Thee Goo Tunny
A Teeth Young No
A Teeth Young On
A Teeth Guy Noon
A Nee Nought Toy
A Nee Tough Tony
A Nee Ought Tony
A Nee Tong Youth
A Nee Gnu Toothy
A Nee Gun Toothy
A Teen Thong You
A Teen Nought Yo
A Teen Tough Yon
A Teen Ought Yon
A Teen Young Tho
A Teen Young Hot
A Teen Gouty Hon
A Tenet Hong You
A Tenet Young Oh
A Tenet Young Ho
A Teeny Hong Out
A Teeny Hung Too
A Teeny Hog Unto
A Teeny Tough No
A Teeny Tough On
A Teeny Ought No
A Teeny Ought On
A Teeny Ugh Onto
A Teeny Hug Onto
A Teeny Goon Hut
A Teeny Gnu Hoot
A Teeny Gun Hoot
A Teeny Goo Hunt
A Teeny Gout Hon
A Tee Nought Yon
A Tee Gunny Hoot
A Eye Thong Unto
A Eye Nought Ton
A Eye Nought Not
A Toughen En Toy
A Toughen Net Yo
A Toughen Ten Yo
A Toughen Yen To
A Toughen Yet No
A Toughen Yet On
A Toughen Ye Ton
A Toughen Ye Not
A Enough Net Toy
A Enough Ten Toy
A Enough Tent Yo
A Enough Nett Yo
A Enough Yen Tot
A Enough Yet Ton
A Enough Yet Not
A Ghetto Ye Noun
A Huge Tonne Toy
A Huge Tenon Toy
A Huge Tone Tony
A Huge Note Tony
A Gone Honey Tut
A Gone Tenth You
A Gone Hoe Nutty
A Gone They Unto
A Gone Net Youth
A Gone Ten Youth
A Gotten Hen You
A Gotten Hue Yon
A Tongue He Tony
A Tongue Eh Tony
A Tongue Hen Toy
A Tongue Then Yo
A Tongue The Yon
A Tongue They No
A Tongue They On
A Tongue Hey Ton
A Tongue Hey Not
A Tongue One Thy
A Tongue Eon Thy
A Tongue Yen Tho
A Tongue Yen Hot
A Tongue Yet Hon
A Gent Honey Out
A Gent Hooey Nut
A Gent Hooey Tun
A Gent One Youth
A Gent Eon Youth
A Ego Hone Nutty
A Gooey Then Nut
A Gooey Then Tun
A Gooey Tenth Nu
A Gooey Net Hunt
A Gooey Ten Hunt
A Gooey Tune Nth
A Get Honey Unto
A Get Neon Youth
A Get None Youth
A He Tonne Gouty
A He Tenon Gouty
A Eh Tonne Gouty
A Eh Tenon Gouty
A Hen Tone Gouty
A Hen Note Gouty
A Hen Tote Young
A Hone One Gutty
A Hone Eon Gutty
A Hone Net Gouty
A Hone Ten Gouty
A Honey Tone Gut
A Honey Tone Tug
A Honey Note Gut
A Honey Note Tug
A Honey Net Gout
A Honey Ten Gout
A Honey Tune Got
A Honey Tune Tog
A Honey Tote Gnu
A Honey Tote Gun
A Then One Gouty
A Then Eon Gouty
A Then Yen Outgo
A Then Toe Young
A Hoe Neon Gutty
A Hoe None Gutty
A Hoe Tent Young
A Hoe Nett Young
A Hoe Tote Gunny
A Hooey Tent Gnu
A Hooey Tent Gun
A Hooey Nett Gnu
A Hooey Nett Gun
A The Neon Gouty
A The None Gouty
A The Tone Young
A The Note Young
A They Neon Gout
A They None Gout
A They Tune Goon
A Hey Tonne Gout
A Hey Tenon Gout
A Neon Yet Tough
A Neon Yet Ought
A None Yet Tough
A None Yet Ought
A Tonne Ye Tough
A Tonne Ye Ought
A Tenon Ye Tough
A Tenon Ye Ought
A One Yet Nought
A Eon Yet Nought
A Tone Yen Tough
A Tone Yen Ought
A Tone Ye Nought
A Note Yen Tough
A Note Yen Ought
A Note Ye Nought
A Yen Toe Nought
Negate Oh Nut Yo
Negate Oh Tun Yo
Negate Oh Nu Toy
Negate Ho Nut Yo
Negate Ho Tun Yo
Negate Ho Nu Toy
Negate Tho Nu Yo
Negate Hot Nu Yo
Negate Hut No Yo
Negate Hut On Yo
Negate Uh No Toy
Negate Uh On Toy
Negate Uh Ton Yo
Negate Uh Not Yo
Negate Uh Yon To
Goatee Nth Nu Yo
Goatee Thy No Nu
Goatee Thy On Nu
Ethane Gnu To Yo
Ethane Gun To Yo
Ethane Go Nut Yo
Ethane Go Tun Yo
Ethane Go Nu Toy
Ethane Got Nu Yo
Ethane Tog Nu Yo
Ethane Gut No Yo
Ethane Gut On Yo
Ethane Tug No Yo
Ethane Tug On Yo
Ethane Guy No To
Ethane Guy On To
Neaten Ugh To Yo
Neaten Hug To Yo
Neaten Go Hut Yo
Neaten Go Uh Toy
Neaten Got Uh Yo
Neaten Tog Uh Yo
Neaten Gut Oh Yo
Neaten Gut Ho Yo
Neaten Tug Oh Yo
Neaten Tug Ho Yo
Neaten Guy Oh To
Neaten Guy Ho To
Eaten Hung To Yo
Eaten Hog Nut Yo
Eaten Hog Tun Yo
Eaten Hog Nu Toy
Eaten Thug No Yo
Eaten Thug On Yo
Eaten Ugh No Toy
Eaten Ugh On Toy
Eaten Ugh Ton Yo
Eaten Ugh Not Yo
Eaten Ugh Yon To
Eaten Hug No Toy
Eaten Hug On Toy
Eaten Hug Ton Yo
Eaten Hug Not Yo
Eaten Hug Yon To
Eaten Tong Uh Yo
Eaten Gnu Oh Toy
Eaten Gnu Ho Toy
Eaten Gnu Tho Yo
Eaten Gnu Hot Yo
Eaten Gun Oh Toy
Eaten Gun Ho Toy
Eaten Gun Tho Yo
Eaten Gun Hot Yo
Eaten Go Nth You
Eaten Go Hunt Yo
Eaten Go Hut Yon
Eaten Go Uh Tony
Eaten Goo Thy Nu
Eaten Got Uh Yon
Eaten Tog Uh Yon
Eaten Gut Hon Yo
Eaten Gut Oh Yon
Eaten Gut Ho Yon
Eaten Tug Hon Yo
Eaten Tug Oh Yon
Eaten Tug Ho Yon
Eaten Guy Hon To
Eaten Guy Oh Ton
Eaten Guy Oh Not
Eaten Guy Ho Ton
Eaten Guy Ho Not
Eaten Guy Tho No
Eaten Guy Tho On
Eaten Guy Hot No
Eaten Guy Hot On
Age He Tunny Too
Age He Unto Tony
Age Eh Tunny Too
Age Eh Unto Tony
Age Hen Unto Toy
Age Hen Tony Out
Age Hen Yon Tout
Age Hone Yon Tut
Age Hone Nut Toy
Age Hone Tun Toy
Age Honey No Tut
Age Honey On Tut
Age Honey Nut To
Age Honey Tun To
Age Honey Nu Tot
Age Then Ton You
Age Then Not You
Age Then Unto Yo
Age Then Yon Out
Age Tenth No You
Age Tenth On You
Age Hoe Tunny To
Age Hoe No Nutty
Age Hoe On Nutty
Age Hoe Tony Nut
Age Hoe Tony Tun
Age The Noun Toy
Age The Unto Yon
Age They Noun To
Age They Nun Too
Age They No Unto
Age They On Unto
Age They Onto Nu
Age Hue Ton Tony
Age Hue Not Tony
Age Hey Noon Tut
Age Hey Noun Tot
Age Hey Nun Toot
Age Hey Onto Nut
Age Hey Onto Tun
Age Hey Ton Unto
Age Hey Not Unto
Age En Ooh Nutty
Age En Oho Nutty
Age En Toothy Nu
Age En Thou Tony
Age En Youth Ton
Age En Youth Not
Age Neon Hut Toy
Age Neon Thy Out
Age None Hut Toy
Age None Thy Out
Age Tonne Hut Yo
Age Tonne Uh Toy
Age Tenon Hut Yo
Age Tenon Uh Toy
Age One Hunt Toy
Age One Oh Nutty
Age One Ho Nutty
Age One Hut Tony
Age One Thy Unto
Age Eon Hunt Toy
Age Eon Oh Nutty
Age Eon Ho Nutty
Age Eon Hut Tony
Age Eon Thy Unto
Age Tone Nth You
Age Tone Hunt Yo
Age Tone Hut Yon
Age Tone Uh Tony
Age Note Nth You
Age Note Hunt Yo
Age Note Hut Yon
Age Note Uh Tony
Age Net Thou Yon
Age Net Youth No
Age Net Youth On
Age Ten Thou Yon
Age Ten Youth No
Age Ten Youth On
Age Tent Hon You
Age Nett Hon You
Age Tune Hon Toy
Age Tune Oh Tony
Age Tune Ho Tony
Age Tune Tho Yon
Age Tune Hot Yon
Age Yen Hon Tout
Age Yen Hunt Too
Age Yen Hoot Nut
Age Yen Hoot Tun
Age Yen Tooth Nu
Age Yen Tho Unto
Age Yen Hot Unto
Age Yen Thou Ton
Age Yen Thou Not
Age Yen Hut Onto
Age Toe Hunt Yon
Age Toe Oh Tunny
Age Toe Ho Tunny
Age Toe Thy Noun
Age Yet Hon Unto
Age Yet Hoot Nun
Age Yet Tho Noun
Age Yet Hot Noun
Age Yet Hut Noon
Age Ye Hunt Onto
Age Ye Tooth Nun
Nonage He Yo Tut
Nonage Eh Yo Tut
Nonage Yet Uh To
Nonage Ye Oh Tut
Nonage Ye Ho Tut
Nonage Ye Hut To
Nonage Ye Uh Tot
Tonnage Ye Uh To
Gannet He To You
Gannet He Out Yo
Gannet Eh To You
Gannet Eh Out Yo
Gannet Hue To Yo
Gannet Toe Uh Yo
Gannet Ye Oh Out
Gannet Ye Ho Out
Gannet Ye Uh Too
Agent He Ton You
Agent He Not You
Agent He Unto Yo
Agent He Yon Out
Agent Eh Ton You
Agent Eh Not You
Agent Eh Unto Yo
Agent Eh Yon Out
Agent Hen To You
Agent Hen Out Yo
Agent Hoe Nut Yo
Agent Hoe Tun Yo
Agent Hoe Nu Toy
Agent The No You
Agent The On You
Agent Hue No Toy
Agent Hue On Toy
Agent Hue Ton Yo
Agent Hue Not Yo
Agent Hue Yon To
Agent Hey No Out
Agent Hey On Out
Agent Hey Nu Too
Agent En Tho You
Agent En Hot You
Agent En Thou Yo
Agent One Hut Yo
Agent One Uh Toy
Agent Eon Hut Yo
Agent Eon Uh Toy
Agent Tone Uh Yo
Agent Note Uh Yo
Agent Net Oh You
Agent Net Ho You
Agent Ten Oh You
Agent Ten Ho You
Agent Tune Oh Yo
Agent Tune Ho Yo
Agent Yen Oh Out
Agent Yen Ho Out
Agent Yen Uh Too
Agent Toe Uh Yon
Agent Yet Ooh Nu
Agent Yet Oho Nu
Agent Ye Hon Out
Agent Ye Oh Unto
Agent Ye Ho Unto
Agent Ye Ooh Nut
Agent Ye Ooh Tun
Agent Ye Oho Nut
Agent Ye Oho Tun
Agent Ye Hoot Nu
Agent Ye Thou No
Agent Ye Thou On
Agent Ye Uh Onto
Togae He Nun Toy
Togae He Tony Nu
Togae He Yon Nut
Togae He Yon Tun
Togae Eh Nun Toy
Togae Eh Tony Nu
Togae Eh Yon Nut
Togae Eh Yon Tun
Togae Hen Nut Yo
Togae Hen Tun Yo
Togae Hen Nu Toy
Togae Then Nu Yo
Togae The Nun Yo
Togae The Yon Nu
Togae They No Nu
Togae They On Nu
Togae Hey Nun To
Togae Hey No Nut
Togae Hey No Tun
Togae Hey On Nut
Togae Hey On Tun
Togae Hey Ton Nu
Togae Hey Not Nu
Togae En Nth You
Togae En Hunt Yo
Togae En Hut Yon
Togae En Uh Tony
Togae One Thy Nu
Togae Eon Thy Nu
Togae Net Uh Yon
Togae Ten Uh Yon
Togae Yen Oh Nut
Togae Yen Oh Tun
Togae Yen Ho Nut
Togae Yen Ho Tun
Togae Yen Tho Nu
Togae Yen Hot Nu
Togae Yen Hut No
Togae Yen Hut On
Togae Yen Uh Ton
Togae Yen Uh Not
Togae Yet Hon Nu
Togae Yet Oh Nun
Togae Yet Ho Nun
Togae Ye Hon Nut
Togae Ye Hon Tun
Togae Ye Hunt No
Togae Ye Hunt On
Togae Ye Tho Nun
Togae Ye Hot Nun
Outage En Nth Yo
Outage En Thy No
Outage En Thy On
Outage Ye Nth No
Outage Ye Nth On
Gate He Noun Toy
Gate He Unto Yon
Gate Eh Noun Toy
Gate Eh Unto Yon
Gate Hen Ton You
Gate Hen Not You
Gate Hen Unto Yo
Gate Hen Yon Out
Gate Hone Nut Yo
Gate Hone Tun Yo
Gate Hone Nu Toy
Gate Honey Nu To
Gate Then No You
Gate Then On You
Gate Hoe Nun Toy
Gate Hoe Tony Nu
Gate Hoe Yon Nut
Gate Hoe Yon Tun
Gate The Noun Yo
Gate Hue No Tony
Gate Hue On Tony
Gate Hue Ton Yon
Gate Hue Not Yon
Gate Hey Noun To
Gate Hey Nun Too
Gate Hey No Unto
Gate Hey On Unto
Gate Hey Onto Nu
Gate En Thou Yon
Gate En Youth No
Gate En Youth On
Gate Neon Hut Yo
Gate Neon Uh Toy
Gate None Hut Yo
Gate None Uh Toy
Gate Tonne Uh Yo
Gate Tenon Uh Yo
Gate One Nth You
Gate One Hunt Yo
Gate One Hut Yon
Gate One Uh Tony
Gate Eon Nth You
Gate Eon Hunt Yo
Gate Eon Hut Yon
Gate Eon Uh Tony
Gate Tone Uh Yon
Gate Note Uh Yon
Gate Net Hon You
Gate Ten Hon You
Gate Tune Hon Yo
Gate Tune Oh Yon
Gate Tune Ho Yon
Gate Yen Hon Out
Gate Yen Oh Unto
Gate Yen Ho Unto
Gate Yen Ooh Nut
Gate Yen Ooh Tun
Gate Yen Oho Nut
Gate Yen Oho Tun
Gate Yen Hoot Nu
Gate Yen Thou No
Gate Yen Thou On
Gate Yen Uh Onto
Gate Yet Oh Noun
Gate Yet Ho Noun
Gate Yet Ooh Nun
Gate Yet Oho Nun
Gate Yet Uh Noon
Gate Ye Hon Unto
Gate Ye Hoot Nun
Gate Ye Tho Noun
Gate Ye Hot Noun
Gate Ye Hut Noon
Ague He Ton Tony
Ague He Not Tony
Ague Eh Ton Tony
Ague Eh Not Tony
Ague Hen Ton Toy
Ague Hen Not Toy
Ague Hen Tony To
Ague Hen Yon Tot
Ague Then No Toy
Ague Then On Toy
Ague Then Ton Yo
Ague Then Not Yo
Ague Then Yon To
Ague Tenth No Yo
Ague Tenth On Yo
Ague The No Tony
Ague The On Tony
Ague The Ton Yon
Ague The Not Yon
Ague They No Ton
Ague They No Not
Ague They On Ton
Ague They On Not
Ague Hey Ton Not
Ague En Tho Tony
Ague En Hot Tony
Ague En Thy Onto
Ague Neon Thy To
Ague None Thy To
Ague One Nth Toy
Ague One Thy Ton
Ague One Thy Not
Ague Eon Nth Toy
Ague Eon Thy Ton
Ague Eon Thy Not
Ague Tone Nth Yo
Ague Tone Thy No
Ague Tone Thy On
Ague Note Nth Yo
Ague Note Thy No
Ague Note Thy On
Ague Net Hon Toy
Ague Net Oh Tony
Ague Net Ho Tony
Ague Net Tho Yon
Ague Net Hot Yon
Ague Ten Hon Toy
Ague Ten Oh Tony
Ague Ten Ho Tony
Ague Ten Tho Yon
Ague Ten Hot Yon
Ague Tent Hon Yo
Ague Tent Oh Yon
Ague Tent Ho Yon
Ague Nett Hon Yo
Ague Nett Oh Yon
Ague Nett Ho Yon
Ague Yen Hon Tot
Ague Yen Nth Too
Ague Yen Tho Ton
Ague Yen Tho Not
Ague Yen Hot Ton
Ague Yen Hot Not
Ague Toe Nth Yon
Ague Yet Hon Ton
Ague Yet Hon Not
Ague Ye Nth Onto
Henna Ego Yo Tut
Henna Get To You
Henna Get Out Yo
Henna Toe Gut Yo
Henna Toe Tug Yo
Henna Toe Guy To
Henna Yet Go Out
Henna Ye Go Tout
Henna Ye Goo Tut
Henna Ye Got Out
Henna Ye Tog Out
Henna Ye Gout To
Henna Ye Gut Too
Henna Ye Tug Too
Neath Ego Nut Yo
Neath Ego Tun Yo
Neath Ego Nu Toy
Neath Get No You
Neath Get On You
Neath En Got You
Neath En Tog You
Neath En Gout Yo
Neath En Guy Too
Neath One Gut Yo
Neath One Tug Yo
Neath One Guy To
Neath Eon Gut Yo
Neath Eon Tug Yo
Neath Eon Guy To
Neath Net Go You
Neath Ten Go You
Neath Tune Go Yo
Neath Yen Go Out
Neath Toe Gnu Yo
Neath Toe Gun Yo
Neath Toe Guy No
Neath Toe Guy On
Neath Yet Goo Nu
Neath Ye Gnu Too
Neath Ye Gun Too
Neath Ye Go Unto
Neath Ye Goo Nut
Neath Ye Goo Tun
Neath Ye Togo Nu
Neath Ye Gout No
Neath Ye Gout On
Thane Ego Nut Yo
Thane Ego Tun Yo
Thane Ego Nu Toy
Thane Get No You
Thane Get On You
Thane En Got You
Thane En Tog You
Thane En Gout Yo
Thane En Guy Too
Thane One Gut Yo
Thane One Tug Yo
Thane One Guy To
Thane Eon Gut Yo
Thane Eon Tug Yo
Thane Eon Guy To
Thane Net Go You
Thane Ten Go You
Thane Tune Go Yo
Thane Yen Go Out
Thane Toe Gnu Yo
Thane Toe Gun Yo
Thane Toe Guy No
Thane Toe Guy On
Thane Yet Goo Nu
Thane Ye Gnu Too
Thane Ye Gun Too
Thane Ye Go Unto
Thane Ye Goo Nut
Thane Ye Goo Tun
Thane Ye Togo Nu
Thane Ye Gout No
Thane Ye Gout On
Hyena Ego No Tut
Hyena Ego On Tut
Hyena Ego Nut To

 

In the notes that you get if you buy 50 Short Games, thecatamites mentions that Daniil Kharms is an influence for Maskin See It Through. Reading some of his micro-fiction and seeing the voice he tends to use greatly increases my appreciation of this game. 

Share this post


Link to post
Share on other sites

Those are anagrams for you. For every ETHICS FARM and MR SHITFACE, there's about a hundred FA CHIT REMs.

 

That was a pretty interesting, weird game, but the most substantial thing I took out of it beyond various references to 20th century Russia was a mediation on the relationship between player and game. It makes this point, I think, through a narrator that asserts itself opposite prose (or what has the makings of prose) as strongly as we are used to games making their influence felt. That's a bit far reaching of course, but the two nodes in the game that lead me on that trajectory are:

 

 - You being unable to alter anything in the first half of the game without the narrator yanking you back on track, quite violently even.

 

 - A fight scene that has absolutely no bearing on how the game continues. It allows you a minimal bit of self-expression in choosing how to perform the fight itself, but the canonical end result is always the same and the ultimately just shrugs that scene off and goes "now we resume the plot."

 

There's maybe a bit more in there, even, about how that relationship and storytelling conventions shape our perspective, like the way the letter is being set up as significant by us being told how significant it is reads like it's flipping the usual script of games starting with just an ordinary day in the life of the protagonist, while we already know that it's obviously not going to be ordinary because the game won't actually make us play through one normal day and have the weird thing happen on the second day.

Share this post


Link to post
Share on other sites
 

That was a pretty interesting, weird game, but the most substantial thing I took out of it beyond various references to 20th century Russia was a mediation on the relationship between player and game. It makes this point, I think, through a narrator that asserts itself opposite prose (or what has the makings of prose) as strongly as we are used to games making their influence felt. That's a bit far reaching of course, but the two nodes in the game that lead me on that trajectory are:

 

 - You being unable to alter anything in the first half of the game without the narrator yanking you back on track, quite violently even.

 

The way I see this is as a channeling of Daniil Kharms's peculiar narration-voice into an interactive text. Kharms has a way of making you feel foolish for listening to his story while putting the shame on the reader rather than self-deprecating, as exemplified by this micro-fiction. The way Maskin Sees It Through chastises the reader for making a choice implying that it is such an absurd choice that no one could possibly chose it in good faith seems like a similar voice to me.

There is a really great instance of this that I didn't get in my first play-through by chosing
- It's obvious! (this is you speaking) Mashkin took his case to the police.
 the role of the player and the narrator is completely inverted for multiple pages for the purpose of letting the player dig a deeper hole for themselves so that the narrator can then say "Well now that you have told your story, we can return to to one I was telling in the first place."
 

This authority which offers you choice just so it can patronize you for daring to consider something  vaguely different than full faith in the inevitability of the narrator's version of events, is also expressed with the rescue by helicopter. Kharms doesn't have the option to provide actual written multiple-choice events, but he has a technique that I think is similar where he leads the reader into being desensitized from wackiness, violence, or nudity by continuing on without comment after listing it in a series of events only to seemingly bring up a polite concern in order to embarrass ourselves for not having that reaction on our own (because that reaction has been disassociated from their typical triggers by lacking any comment and getting us to expect the described situation to perpetually exacerbate). I think this story is a good example of the technique I describe. I know it's a pretty loose comparison, but it has a big effect on how I  read Mashkin Sees It Through. I wonder if this page is a reference to that technique.

 

 

 - A fight scene that has absolutely no bearing on how the game continues. It allows you a minimal bit of self-expression in choosing how to perform the fight itself, but the canonical end result is always the same and the ultimately just shrugs that scene off and goes "now we resume the plot."

 

Though the fight scene was just choosing a few sound-bites from a clownish brawl, I think of it as being an attempt to put us in a comedic scene similar to this Daniil Kharms story.

Share this post


Link to post
Share on other sites

So I enjoyed researching Daniil Kharms (and by association Alexander Pushkin) for the intentional purpose of letting those subjects color my perspective on playing Maskin Sees It Through. I find myself making a lot of connections, but none of them are foundational premises for any sort of argument so I don't really want to focus on extrapolating about them as I provide my impressions for this particular game. At the same time, the decision to expose myself to these subjects for a few hours was really rewarding in the context of how it affected my play-through so I want kinda summarize some points from the psuedo-research.

 

-The notes that come with 50 Short Games mentions that "The prose is a kind of pastiche of some of Daniil Kharm's writing although not nearly as good"

 

-One of Kharms's stories is titled Anecdotes from the life of Pushkin

 

-Articles about both Daniil Kharms and Alexander Pushkin include tales of state-persecution of writers. Interestingly, Pushkin was apparently actually writing politically charged stuff (though later it seems that his complicity was determined by revolutionaries having his poems on them) while Kharms was just writing weird stories for children. 

 

-Historical accounts of Pushkin make him into a bit of a byronic hero; he was in 29 duels and seems to have been considered as some sort of lovable enemy of the State.

 

-The stories of Daniil Kharms often have a condescending narrator voice from which a lot of the humor comes. 

 

Again, I don't want to focus too much on corroborating this material with Mashkin Sees It Through, but it's great supplemental reading for consideration.

 

 

---------------------------------------------------

 

I love the voice of the narrator. They seem to be in a situation where they are obligated to provide choices, but they resent having to do so. Most of the choices feel more like pledges of faith in the narrator, or traps that put the reader in a position of foolishness so that the authority of the narrator can be re-established. I feel like Fred Savage as Peter Falk reads to me. This voice evolves into a homogenous historical canon of events which is interesting to me especially as Mashkin's character becomes larger than life. It's with this authority that Mashkin is presented to me as some sort of master pensman in the advent of gunpowder. But at the same time, the narrator's tactics seem to show a lack of confidence that makes me doubt the entire idea that Mashkin was influential at all. I end up in this odd depiction of a world where a writer busts into a conference on horse-back and slaughters those in power gleefully and righteously from the voice of a narrator who seems too gain authority from the historical character's cult of personality. It's pretty cool really. I feel that the dramatic stakes of the story are sincerely felt (by the narrator in a fictional world) though not necessarily realistic; this is largely due to reading about the lives of Alexander Pushkin and Daniil Kharms so it's a weird hybrid of actual historical events and the historical events of a fictional world from the perspective of an unreliable fictional character. It's complex. 

 

I may be completely wrong about this, but I don't think this complexity was premeditated, I think it's a result of freely moving between history, imagination, summation of actual voices, and whimsical divergence from any of these. That has fascinating implications to me. I see it as being more constrained than absurdism or surrealism, but evokative on all the described literary planes. 

Share this post


Link to post
Share on other sites

Hello friends! FF35 ruined me! When we got to that one, I had the idea of connecting my interpretation of that game with poking around in the Final Fantasy 7 debug room. The pursuit was a black hole that produced the following:

 

http://gamesthatexist.tumblr.com/post/112908593851/a-review-of-the-debug-room-in-final-fantasy-7.

 

Earlier, sergiocornaga said:

 

FF35 condenses Final Fantasy elements into a fast-paced playable trailer, cutting to the next humorous take on some RPG trope before I have time to be bored. This approach definitely wouldn't work for a longer RPG. Basically, I'm saying he cheated.

 

This is pretty much the interpretive approach I pursue at length in the link above.

 

Here is the relevant bit about FF35: 

 

There is a short trainwreck game by thecatamites called FF35. For me the initial part of this game is much more interesting than the half-facetious appeal towards the end that renders the whole thing as parody, a text prompt that reads, “PLEASE LET ME MAKE THE NEXT FINAL FANTASY GAME.” I read the part at the end as the place where the author sort of gives up on the original idea (Final Fantasy flash fiction as told through jump cuts) because it was too much work for a game made in one day, and it just wasn’t worth it. In FF35, you begin with a gnarled formula, a metanarrative in which OLD MAN tells you about something that happened LONG AGO. Then, there’s a screen that describes an even more formulaic Evil Spirt + Crystals narrative. Then a merry band in a grassy field, unpunctuated dialogue presumably spoken by a ghost, describing a mandate to plunder a temple. Except…there’s a boulder in the way. On the next screen you meet CHOOKCHOOK the yellow bird. Next a battle screen and a vaguely cute LV8 monster. An upgrade menu featuring “powerbeads.” Melodrama at a remote Inn. Skelly uses the “Pattyjar” attack. A dialogue “choice” that only encourages an NPC to repeat what was just said. Contemplative reflection from wizard without face.

 

You don’t know that all of this is happening in the specific way I described above because the game transitions to the next screen way too fast, about a second or two before you are ready to comprehend what you just saw. What’s interesting here are not so much the scenes themselves, but the way the game doesn’t allow you to linger on any of them long enough to develop much of a response; despite the farce, it all remains pleasantly mysterious and allusive. This is pretty much exactly how I remember my favorite entries in the Final Fantasy series, as memory that eats itself; the memory becomes frustrated when I actually try to go back and play one of these games and face hours upon hours of grind. The scenes in FF35 are cute and allusive, but thecatamites is not being facetious in presenting this idealized version of a Final Fantasy universe. The game betrays a desire to warp around without really doing much, float around without paying attention to any of it for too long. It’s a collage of hollow genre signifiers.

 

Not much after all that! But at least now I can catch up with the other games.

 

Much thanks to ihavefivehat for the screenshots. Very helpful.


Stay in school everyone.

Share this post


Link to post
Share on other sites

Employee Report: I think this is a nice point of contrast to FF35. ER lingers on the text long enough for the phrases to resonate with multiple layers of connotation, as opposed to the screens in FF35 that shift before you can process them. I am having some trouble with the octopus metaphor. I get the basic gist, but am having trouble picturing it, maybe because I don't know that much about marine life. But I like how the metaphor is only half-realized visually. The central figure appears as human, not as octopus, and the unmoving boat is appropriately impotent. It floats, holds itself up above the depths, but without reason. It can keep you from plunging down, relinquishing consciousness, but it can't do anything else but remain in stasis. And if you plunge down, you are simply thrust back up by some unseen force. The tone here is irreverent, as usual, but not really playful at all. This one is almost solemn.

 

The fading into and out of blackness, and the slow rising and descending remind me of fading in and out of sleep. It's like sitting in bed in the morning knowing that you have to get up soon, but not wanting to fully wake up. But in this metaphor, I'm not sure if waking up corresponds to rising out of the abyss or falling into it.


This is my reading of it too, and I like how clyde extends the metaphor to also apply to a more generalized state of labor.

 

I think that the metaphor of weighted bouyancy is pretty great for the wakeful sleep that irregularly scheduled part-timers (or anyone on call) can exist within for years at a time. It's such a waste of mental focus. Bouyancy also describes my undulating wavelengths of enthusiasm between the ages of 19 and 25. I would find a shitty restaurant job, work overtime for a few months, turn in my two weeks notice when I had three months for bills, starches, eggs, icecream, coffee and wine, and live a reasonable life for a while.

 

I love this description. And it's pretty wild that your personal experience reflects this state of half-awake constant anticipation, but on a more macro level. The way you describe working months at a time, it's like hibernation, except the opposite, without the implied relaxed, rehabilitating stasis. Actually, now that I've written it down, it doesn't sound that uncommon. It's generally how teachers work as well, and also students.

Share this post


Link to post
Share on other sites

Moppy Returns: thematically similar to Space Mouse and Employee Report. Alienated labor. Strong points here are the brooding earth tones and Dark Moppy's sinister sound effect. I am impressed with how confusing the tone is. It is genuinely unsettling when Dark Moppy comes for you. But I would find myself, alone in my room, laughing out loud at the same time I was really creeped out. Especially at the final stage, where it's just the one claustrophobic hallway, only key and door. Grab the key, and it's like you've been cartoonishly hooked off stage.

 

I spent way too long trying to work out what the item next to Moppy is. I figure it's probably a mop.

 

It is totally a mop. Dark Moppy is bad because they carry no mop.

 

 Moppy Returns shows a protagonist that is trying to pretend that self-doubt (or possibly depression) will not be a factor in their performance so that they can push forward.

 

I think the character is also trying to pretend that the labor is meaningful instead of trying to deal with the notion that maybe it isn't by trying to find meaning in life elsewhere, which contributes to this cycle of nebulous resistance. I think that's part of the joke(?) here. That the protagonist keeps blaming some internal ineptitude or mental state, and doesn't consider the possibility that the problem is external, systemic exploitation. Everyone else seems to be living their lives or whatever, so I must be the problem.

 

...and the omnipresent (minor-chord?) tone

 

I think maybe a minor 7th or 9th or something. Something weird.

Share this post


Link to post
Share on other sites

Creamerz:

 

From the author's notes:

Similar to "Fashion World" it started out being a joke about guilelessly chirpy commercial products but I ended up being charmed by just that quality (which is probably just as well, since it's kind of a curmudgeonly thing to pick at). I love the Creamerz.

 

This is an interesting effect to try and trace in each individual game because I feel like it happens a lot. Just because of the accelerated production of these things and because its a common defense mechanism there is often a sense in these games of not taking the original idea seriously. But then there is a moment where the game slips into genuine enthusiasm for what it is, and then usually slips back out into a more distant register by the end. It's kind of amazing that this transition can take place over such a short time. In Creamerz, I think we can locate this in seemingly minor choices in diction:

 

I'm just so happy that we're all together. I don't want to make a big deal out of anything but I'm just really happy.

 

The pulling back from straight parody or hyperbole here is jarring for me. That "I don't want to make a big deal out of anything but..." Sure, it's a performed reluctance, but it's still awkward. It's especially jarring since it shares the screen with a line that is much more straightforward, a second-person direct address to the audience imagined as consumer:

 

You too can join the Creamerz. 9 amazing flavours available now in stores around the country.

 

I wouldn't call the first quote sincere. More like unsettled. The effect of this juxtaposition for me is reminiscent of when I find myself accidentally moved by an advertisement, and I feel kind of dirty afterwards because I've been emotionally manipulated. There is this voice or tone that the author is trying to emulate, but can't play it straight, can't play it without being sucked in to some extent. "I love the Creamerz."

Share this post


Link to post
Share on other sites

Hello friends! FF35 ruined me! When we got to that one, I had the idea of connecting my interpretation of that game with poking around in the Final Fantasy 7 debug room. The pursuit was a black hole that produced the following:

 

http://gamesthatexist.tumblr.com/post/112908593851/a-review-of-the-debug-room-in-final-fantasy-7.

 

This was a neat article. I enjoy the idea that creating an automated narrative requires modularized memories that can be abstracted from their narrative context creating a story that resembles dream-logic. It makes me think that the way our minds put events together necessitates a lot of strange side-effects when the tools our minds use (space, anthropomorphic actors, and chronology) are applied to symbols and then rearranged for unusual purposes. I think surrealists are very much interested in these tendencies. I'd consider myself a surrealist. 

 

 

-------------------------------------------------------------------------------------------------------------------------------------------------------

 

With Pamela Adventures In Dreamland we get another examination of how weird dream-mechanics are. The author seems to be fascinated by how events in the physical world can affect the contents, or possibly the emotion of a dream-state while the dreamer remains unaware that they are observing a hallucination. The visual set-up is rather expressive in itself and inspires a lot of neat potential; having half of the screen depict the dream and the other half that of the physical state of the dreamer is a fantastical premise that I find myself excited by as a player. At first it wasn't apparent to me that the spider would only affect the dreamer in the physical world because it had not be established that the spider was physical itself. And once that did become apparent with some playful poking, I experimented to find out if the spider-body existed in both the physical world and in the dream-world. Having a narrative occur in one space that you can only affect in another tends to be intriguing for me. I'm attracted to remote robotics that send back a camera-feed, magical effigy fantasies, and computer-games with player-controlled avatars. The spacial lay-out in Pamela Adventures In Dreamland inspires play in me. The subject matter is also something I have been experimental with throughout my life. My first memory of this type of thing was my older sister claiming that by resting a sleeper's hand in warm water (assumably without their consent), they would likely wet the bed. This claim really opened up a lot of questions for me. First of all, the idea that we require a restful, unconscious state on the regular is pretty weird especially for those of us who strongly identify with our conscious state. Then the possibility that a non-conscious awareness (still assumably us to some extent) makes decisions and wanders around an environment and logic composed entirely of its own priorities, heaviliy influenced and borrowed from the experiences of our conscious-selves, is just wacky and a bit concerning. The suggestion that we could poke at a sleeper to get any sort of feedback that would imply a real-time bridge between these two worlds which want to ignore each other tickles a deep urge for mischieviousness in me. And here we have a game that appeals to that very fantasy. 

 

Some things I wanted to mention:

-When Pamela finds DVDs that she has been trying to find for a long time and she mentions that she feels a lot of success, I'm reminded of some of the dreams I had when I was collecting comic-books in waking life, or the period of my life where I spent a lot of energy aquiring Smashing Pumpkins bootlegs. I really enjoyed the feeling I had in those dreams being part of this narrative, I don't know that I've ever considered that type of dream as a thing; now I do. 

 

-The change between controlling the spider in the physical world to controlling an avatar inside of the dream which the spider was affecting was interesting to me. The severity of the physical-world/dream-world framework is established by relying on the way players prioritize the tools and contexts of the elements over which they have agency. Then when I am hanging with Wuffles, I'm reminded of that severity and now I'm in a position of suffering from that severity, no longer in control of it. I thought that was interesting in a game that I didn't really find scary, moralistic, or intense. 

 

-Another thing about the Wuffles scene I enjoyed was that the nightmare scenario is triggered by the protagonist recognizing the non-sequitur aspect of what was going on. 

Share this post


Link to post
Share on other sites

UFO Panic Attack: More dreams huh? Or at least dream logic? Or weird blurring of conscious and unconscious states. I like that the game literally overloads the screen with alien iconography in order to enforce its X-files-esque alien abduction, and then adds in the arbitrary Space Invaders clone where it's impossible to shoot down all the aliens. Space Invaders always was an apt metaphor for overload or saturation, on the level of both theme and hardware. I think UFO Panic ends up making the point that we are so saturated with certain iconography that it's not all that surprising that we have "believers" for anything, no matter how unlikely. The comparison "like being chased through the forest by an animate cannabis leaf" drives this point home. It's just so ubiquitous, how could we not imagine ourselves abducted? And maybe that's enough to make it real. For most of Western society, advertising + pulp archetypes = reality. I think there's also an allusion to the idea that conspiracy theories are actually a way of avoiding the most sinister aspects of ideology. Think 911-truthers who think they need dramatic intrigue to explain "terrorists" because the cold everyday logic of American imperialism won't suffice.

Share this post


Link to post
Share on other sites

Mashkin Sees it Through: When I wrote about thecatamites' work for Arcade Review, I compared Mashkin's writing style to that of a Freshman Composition paper. Unfortunately, I don't think this is a metaphor that really works because it sounds to most people like I'm just saying it's shitty writing. What I'm talking about is when students first enter into the university, the institutional weight of the academy plus the alien and mythological quality of its "standard discourse" combine to force students into a particular mode of writing that is unique to composition courses. Ironically, by trying to teach students to sound more like "real academics," composition courses end up producing a type of writing that you wouldn't find anywhere else outside of those courses. Which is kind of what happens in any writing class anyway, even though institutions supposedly want students to be working towards some even, objective standard. So what I was trying to refer to in making the comparison was how the prose in Mashkin deftly evades specific detail in order to play up to, and focus exclusively on, the formal qualities the narrator seems to think the audience expects. Mashkin is pretty exhausting to read! The way the writing evades meaning and runs the reader around in circles reminds me of something from A1 reviews that I posted earlier. Here is thecatamites describing a passage from Robert Walser:

 

Grinding, chattering, circling, the rote words, hastily modified, the string of declaratives, overshadowed by adjectives that seem to stand apart from the text as a whole, that have to be juxtaposed and reiterated and taken back and put forward again in order to express anything at all, like a binary chain of tiny, exhausting affirmations and negations trying to approximate something more complex, squirming, like on a hook. Walser’s short stories are for the most part entirely lacking in characters, dramatic situations, or discernible structure - there are exceptions but the form I associate most with him is that of the brief, essayistic nothing, in which a trivial fragment of anecdote, argument or narrative is brought up only to be nearly immediately overwhelmed by digressions, doubts, elaborate description, self-mockery and excuses before being quietly dropped again after maybe a page. Bold statements are hurled down, tactfully modified, drawn out while the author acknowledges the respectable possibility of contrary sentiments being held by the intelligent and unredoubtable reader, and finally retracted. Sentences, paragraphs, pages that seem to exist only to politely extinguish themselves, silently imploding, every trace of meaning hunted down and graciously annihilated.

 

I still can't get over this passage. What a performance.

 

The Daniil Kharms stories that clyde linked are wonderful.

Share this post


Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now