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7/3/2025, 7:47:26 PM
>>714381219
>In any case, I think the narrative absolutely stumbles in the 3rd act. Some might like the twist of "it's all fake", so might not, but the issue is what comes after.
I didn't see it like that. Verso and Lumiere inhabitants are recognized as existing creatures even outside the painting. I never thought the stakes were broken, but the game wants you to follow a path that is more related to the meta-narrative of the game.
The main topic of the game has always been about loss and coping, and Act I introduces you to life and death, and the reasons of the expedition. Back in the camp when Gustav talks to Maelle, he replies:
>See, that's the insidious thing about the Gommage. It's... Predictable. Almost gentle. It makes Lumiere complacing and accepting, but... The Gommage is equally violent and death... Death is just as final.
This was a testament that the imminent death shouldn't trump the will to live. Real life is almost like this, people standing still just because they are afraid about pain and death when those things will come to you anyway. There are things that must be done, even at the face of death.
Act II introduces loss and mourning. Suffering such a heavy blow withers the spirit, but the entire act serves as a reminder that life isn't over, you can still continue. And how? The conversations with Verso usually encapsulates what you need: Honor their memories, keep them alive in your head, realize that you are not alone in this, and that there are more reasons to live than to stand still and die. This is what allowed the expedition to do what seemed impossible: Facing the Axons, making their way into the monolith, and defeating the paintress. This is the culmination of what the game is trying to tell you.
Now, Act III introduces you with an entire new situation, but this time you decide how it ends: Either continue and accept things as they are, or going back to the complacent Lumiere trashing your life away and being unable to cope.
>In any case, I think the narrative absolutely stumbles in the 3rd act. Some might like the twist of "it's all fake", so might not, but the issue is what comes after.
I didn't see it like that. Verso and Lumiere inhabitants are recognized as existing creatures even outside the painting. I never thought the stakes were broken, but the game wants you to follow a path that is more related to the meta-narrative of the game.
The main topic of the game has always been about loss and coping, and Act I introduces you to life and death, and the reasons of the expedition. Back in the camp when Gustav talks to Maelle, he replies:
>See, that's the insidious thing about the Gommage. It's... Predictable. Almost gentle. It makes Lumiere complacing and accepting, but... The Gommage is equally violent and death... Death is just as final.
This was a testament that the imminent death shouldn't trump the will to live. Real life is almost like this, people standing still just because they are afraid about pain and death when those things will come to you anyway. There are things that must be done, even at the face of death.
Act II introduces loss and mourning. Suffering such a heavy blow withers the spirit, but the entire act serves as a reminder that life isn't over, you can still continue. And how? The conversations with Verso usually encapsulates what you need: Honor their memories, keep them alive in your head, realize that you are not alone in this, and that there are more reasons to live than to stand still and die. This is what allowed the expedition to do what seemed impossible: Facing the Axons, making their way into the monolith, and defeating the paintress. This is the culmination of what the game is trying to tell you.
Now, Act III introduces you with an entire new situation, but this time you decide how it ends: Either continue and accept things as they are, or going back to the complacent Lumiere trashing your life away and being unable to cope.
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