When you consider this is from his Wikipedia page,
McGee has stated his mission is "to create a unified production method for story telling across the interactive and film industries" and of himself, he says, "I want to be the next Walt Disney, only a little more wicked."
It may be worth looking into.
The second game involves Alice trying to piece together what happened the night of the fire that killed her family. Turns out the psychiatrist taking care of her after she’s cleared to leave the asylum in the first game is actually using drugs and psychoanalysis to break down the defenses of the orphans in his care and is prostituting them out to the “highest bidders.”
Sarah Michelle Gellar and Wes Craven were attached to film adaptations of the games. Gellar has bought the rights for the film.
It’s really messed up, and he’s clearly got connections to big names in “entertainment.”
I’ve never played it but I watched the plot synopsis on YouTube…not sure why you’re getting downvoted since potential symbolism aside the game mechanics are known to be stellar.
They really are, and somehow continue to hold up in the modern day. No inventory management, no skill trees, just a solid older-school platforming and slashing game. Lots of good variety, although the pacing at the end slows down a bit.
If you played the Shadow of War games or the Batman Arkham games, it's a similar type of combat mechanic (minus stealth).
...you know you don't play as the pedophile, right?
Doom is also a great game. You can chainsaw the demons of Hell in half. Surely you can't be against that just because the game has a bad guy do... bad guy things.
Have you seen the Rist peninsula in that game?
What does that look like to you? Because if you knew the truth you would stop playing.
I’m just kidding.
But my point is that sometimes games are just games, and any sort of symbolism is just overreaching. Our minds are built to be pattern-recognizers, even if a pattern is not intentional.
I do, however, find a difference between things like peninsulas and portals in games specifically designed to be giant female baby dolls that make you walk through doorways cut out of their torsos and, well, private parts.
It’s a major plot point. And the female baby doll enemies require you to 1) remove their defenses, 2) remove their clothes, and 3) destroy their hearts to defeat them.
I’m not a game designer, but I am a theatre director and designer. Choices like that—with a lot of detail and innuendo—are always intentional.
It may just be to point out the horrors of child sex abuse, but these are very specific design concepts carried throughout a large chunk of a game.
When you consider this is from his Wikipedia page,
It may be worth looking into.
The second game involves Alice trying to piece together what happened the night of the fire that killed her family. Turns out the psychiatrist taking care of her after she’s cleared to leave the asylum in the first game is actually using drugs and psychoanalysis to break down the defenses of the orphans in his care and is prostituting them out to the “highest bidders.”
Sarah Michelle Gellar and Wes Craven were attached to film adaptations of the games. Gellar has bought the rights for the film.
It’s really messed up, and he’s clearly got connections to big names in “entertainment.”
I thought Sarah Michelle Gellar was based ... not like I ever believe any of these people are based ... she seemed to be different though.
If he ever opens a park, I won't want to go inside.
I still replay this game from time to time. It’s fantastic. They’ve been trying to crowdfund a sequel for a while.
I’ve never played it but I watched the plot synopsis on YouTube…not sure why you’re getting downvoted since potential symbolism aside the game mechanics are known to be stellar.
I know why. :)
They really are, and somehow continue to hold up in the modern day. No inventory management, no skill trees, just a solid older-school platforming and slashing game. Lots of good variety, although the pacing at the end slows down a bit.
If you played the Shadow of War games or the Batman Arkham games, it's a similar type of combat mechanic (minus stealth).
Now you’ve got me interested. What do you figure based on that information?
Maybe he is calling you a "Doomer"!
...you know you don't play as the pedophile, right?
Doom is also a great game. You can chainsaw the demons of Hell in half. Surely you can't be against that just because the game has a bad guy do... bad guy things.
No problem. We're allowed to disagree on video games. It's a normal thing to disagree about.
What was the last time you had fun playing a video game?
Yesterday playing Breath of the Wild (:
Have you seen the Rist peninsula in that game? What does that look like to you? Because if you knew the truth you would stop playing.
I’m just kidding.
But my point is that sometimes games are just games, and any sort of symbolism is just overreaching. Our minds are built to be pattern-recognizers, even if a pattern is not intentional.
Anyway, enjoy! It’s a great game.
Lol, nice one. I agree with most of your points.
I do, however, find a difference between things like peninsulas and portals in games specifically designed to be giant female baby dolls that make you walk through doorways cut out of their torsos and, well, private parts.
It’s a major plot point. And the female baby doll enemies require you to 1) remove their defenses, 2) remove their clothes, and 3) destroy their hearts to defeat them.
I’m not a game designer, but I am a theatre director and designer. Choices like that—with a lot of detail and innuendo—are always intentional.
It may just be to point out the horrors of child sex abuse, but these are very specific design concepts carried throughout a large chunk of a game.