7/10
For once in Puppet Combo's games, you play as the killer. It's a good chance to explore not only some tropes commonly associated with slasher's villains but, perhaps more interestingly, to re-enact and revisit come psychoanalytic implications of the genre.
Behind the bedroom of your avatar you find an archetypal womb-like space with a huge toothed mouth in the middle. It's that mouth that orders you to kill ('feed me, Billy!'). It's a fascinating take on the Freudian interpretation of slasher films: the urge to kill arises from a repressed/unprocessed feminine (it's also interesting how the mental uterine space is also depicted as liminal - to get there, you must traverse a womb-like corridor that toys with your perception of distance (and therefore reality).
When you kill your victims, you enact ritual: you approach them (in silence, striving to find your way into the woods), you kill them (climax: slow-motion, cacophony, and 3d models distorted and stretched by their death), and you get back to your truck (drone sound carpet and dissonant noises). The sequences soon assume a dream-like undertone. The parallel climax/orgasm, reinforced by the psychosexual interpretation we may give of the game as well as of slasher movies in general, is reinforced by the orgasmic audio-visual/interactive outburst the killings provide.
Brilliant.
For once in Puppet Combo's games, you play as the killer. It's a good chance to explore not only some tropes commonly associated with slasher's villains but, perhaps more interestingly, to re-enact and revisit come psychoanalytic implications of the genre.
Behind the bedroom of your avatar you find an archetypal womb-like space with a huge toothed mouth in the middle. It's that mouth that orders you to kill ('feed me, Billy!'). It's a fascinating take on the Freudian interpretation of slasher films: the urge to kill arises from a repressed/unprocessed feminine (it's also interesting how the mental uterine space is also depicted as liminal - to get there, you must traverse a womb-like corridor that toys with your perception of distance (and therefore reality).
When you kill your victims, you enact ritual: you approach them (in silence, striving to find your way into the woods), you kill them (climax: slow-motion, cacophony, and 3d models distorted and stretched by their death), and you get back to your truck (drone sound carpet and dissonant noises). The sequences soon assume a dream-like undertone. The parallel climax/orgasm, reinforced by the psychosexual interpretation we may give of the game as well as of slasher movies in general, is reinforced by the orgasmic audio-visual/interactive outburst the killings provide.
Brilliant.