After Technopolis and Emporium, I was immensely excited to delve into Autogeny. From the outset, however, Autogeny demonstrated with crystal clarity that it is not the work I wanted or expected it to be.

Much of this is no doubt due to my own misunderstanding of what the Pagan titles were trying to convey to me. Autogeny makes it explicit that the space the player delves into and reclaims are part of a dead MMO, something that never occured to me with the previous titles. Autogeny is undeniably about the trans (re)claiming of digital spaces. One of your skills is Estrogen, a character tells you that walls are little more than clandestine passages, Body Forging is levelled by appending thigh-high socks to a busty mannequin. I find those aspects fascinating, and fitting for a dead MMO. Not that I can speak with any authourity, but I think like with STG (keep in mind the top Battle Garegga player in the world is a trans woman), the appeal of trans/queer inquiries into the dead MMO space have to do with an a-communal appeal. For an MMO, here exists a land ostensibly populated with other people, real in the case of a 'living' MMO, a simulacra for a dead MMO. Those fictionalised representations of people don't harbour the same discriminatory sentiments that real players might. These false selves hate goblins and demons, not a real person's actual existence. One won't be called a slur for any number of reasons, these players become as ghosts in the machine, consuming that which is no longer considered suitable for consumption. And all of this is fantastic and deserves to be realised in a cohesive, singular gamespace that is agnostic of actual MMOs, I just don't think Autogeny operates well as that space.

The appeal of Technopolis and Emporium largely arose from the non-labelling of them as dead MMOs. The thought hadn't even occurred to me. The colour-banding grey miasma of Technopolis didn't strike me as a dead digital space, but as a non-place between life and death. The pervasiveness of John Atkinson Grimshaw's nocturnal urban purgatories and John William Waterhouse's The Magic Circle and Hylas with a Nymph made it plain to me that this was a time before death, a time of abduction, a time of awaiting a true end. The skills of Technopolis suggested responses to catastrophe, the grey concrete nothings mining away at cars a sort of coping through this transitory period. When rapture is on its way (or perhaps occurrent) would we not descend into a mad reverie of our silicon masters, or stoke the flames of seared flesh in the name of an urban scavenger? The accompanying player piano's ceaseless echoes of Bach's Jesus bleibet meine Freude call to mind The End of Evangelion's audience scene where we see the world continuing, and the world without the body to occupy it. It is a pre-post-present apocalypse.

Emporium only cemented this in/after the end reasoning to me. The overwhelming bass as the world collapses around the self, every fragment of life gone apart from the knights. This is a realm of post-apocalyptic techno-serfdom as conveyed in James Ferraro's Four Pieces for Mirai. It is a land of desiccated theology, of fire's warmth, of murderous necessity. When the meaning of tarot is lost, we look to those omnipresent Bicycle brand playing cards for some answer from the cosmos, given to us like manna by a video poker machine. This is the Strugatsky Brother's notion of a Roadside Picnic, these fragments of someone's dicarded past misunderstood and misapplied to eke out some sort of undeserved existence. Were that not enough, this space is explicitly Hamilton, Ontario. This is not an MMO space, this is a real space. When we get on the boat to leave, we are not headed for brighter shores for there are none. We continue a spiral of non-life and non-death until, mercifully, it will end.

The combat of Technopolis was a non-act, your targets unflinching though they oozed digital red. Emporium had combat as a means to an end for progression, your spear poking into flaming bodies with no retaliation. Autogeny by contrast insists on an actual combat system, at odds with the previous Pagan titles' recontextualisation of violence. It exists only to further the notion of this being an MMO locale. The inventory becomes a clusterfuck of labour vouchers and multiple copies of limbs as items reappear out of necessity when changing locations. The difficult navigation of a blurred, fogged landscape makes everything a frustration exacerbated by agonisingly slow movement. It wastes time by having death as a possibility, by having its multiple endings locked behind repeat full playthroughs a requirement.