Extraordinarily frustrating. For much more good than bad in the end, but I really did need to talk with others about it, it was like "i'm going to destroy a pillow" with the feelings I had left in the brain stew.
It's in one way, fucking ridiculously well written. Delilah is talk on "not real" escaped to relationships as well as an explicit message on confronting memories. Henry is a "failure" and "cowardly" who cannot confront the pains around him ultimately thrust to realize he has to go back home and come to terms with life. Other characters, their relationships and stories whether surrounding Henry or being left behind to be found by Henry are also failures, painful retellings of this conflict with specters these people saw as real. It's all set to this sunset painting, this growing sense of longing shared by all involved for a sunrise we will never see come up for us on screen. We're denied even the beautiful, serene sunset as it goes up in smoke.
But on the other hand, there's actually too much catharsis. Too much foreground, really. What I loved most of what I was playing was how these background elements intersected, how I was left to feel that pain and wince in real time rather than when the reins were clearly torn from me. I don't mean to say that the cuts were bad, in fact they were perfect, it's more how this structure intrinsically needed to throw the perspective in someone else's agency for us to look at and realize we can't become the sludge trapped in the park. A lot of potential really is left to the cutting floor by this move, a timeline where we never feel a bit of catharsis by a mystery left unsolved, or one where we watch ourselves fail again by Henry's own hands, etc etc. This is what's extremely thorny to talk about though. Like can you imagine just walking up to a work, and going, "you know this works really well but it'd be better if you actually just flipped the whole structure to lean the other way thank you". Like who asked? It works for me not for you?
But the result, at least on my end, is that I ended up decoupled from Henry and Delilah's story for a good portion because the disconnect from the first hour and a half to the latter hour and a half set me ablaze. The dialogue and delivery was still incredible but my emotional investment was missing, at least mostly. Mercifully the background actually never left, as the finale to Dave left me moving away from my desk and pushing myself into a pillow for a good minute.
It's ironic really. I think the idea that this "huehue should've been a movie" has things so backwards (and also it's just really fucking bankrupt, like i'm not taking you seriously). There's so much here to add to, via additional player agency, without even taking away from the narrative focused on. I ended up exploring the whole map completely unintentionally, on the way and a couple times off the beaten path just to finish what qualifies as "the side story". I ended up fishing for a while too. In the end the release I'm looking for needed more 'play,' albeit, I'm no editor. This story still has volumes to speak for what it is, like I ended up discovering not through my own hands how Henry's parasocial relationship has an even bigger relevance as we are today.
I do hope there's a dawn for Campo Santo somewhere down the line. They made something truly special here.
It's in one way, fucking ridiculously well written. Delilah is talk on "not real" escaped to relationships as well as an explicit message on confronting memories. Henry is a "failure" and "cowardly" who cannot confront the pains around him ultimately thrust to realize he has to go back home and come to terms with life. Other characters, their relationships and stories whether surrounding Henry or being left behind to be found by Henry are also failures, painful retellings of this conflict with specters these people saw as real. It's all set to this sunset painting, this growing sense of longing shared by all involved for a sunrise we will never see come up for us on screen. We're denied even the beautiful, serene sunset as it goes up in smoke.
But on the other hand, there's actually too much catharsis. Too much foreground, really. What I loved most of what I was playing was how these background elements intersected, how I was left to feel that pain and wince in real time rather than when the reins were clearly torn from me. I don't mean to say that the cuts were bad, in fact they were perfect, it's more how this structure intrinsically needed to throw the perspective in someone else's agency for us to look at and realize we can't become the sludge trapped in the park. A lot of potential really is left to the cutting floor by this move, a timeline where we never feel a bit of catharsis by a mystery left unsolved, or one where we watch ourselves fail again by Henry's own hands, etc etc. This is what's extremely thorny to talk about though. Like can you imagine just walking up to a work, and going, "you know this works really well but it'd be better if you actually just flipped the whole structure to lean the other way thank you". Like who asked? It works for me not for you?
But the result, at least on my end, is that I ended up decoupled from Henry and Delilah's story for a good portion because the disconnect from the first hour and a half to the latter hour and a half set me ablaze. The dialogue and delivery was still incredible but my emotional investment was missing, at least mostly. Mercifully the background actually never left, as the finale to Dave left me moving away from my desk and pushing myself into a pillow for a good minute.
It's ironic really. I think the idea that this "huehue should've been a movie" has things so backwards (and also it's just really fucking bankrupt, like i'm not taking you seriously). There's so much here to add to, via additional player agency, without even taking away from the narrative focused on. I ended up exploring the whole map completely unintentionally, on the way and a couple times off the beaten path just to finish what qualifies as "the side story". I ended up fishing for a while too. In the end the release I'm looking for needed more 'play,' albeit, I'm no editor. This story still has volumes to speak for what it is, like I ended up discovering not through my own hands how Henry's parasocial relationship has an even bigger relevance as we are today.
I do hope there's a dawn for Campo Santo somewhere down the line. They made something truly special here.