You gotta share any big revelations with us!
What I did to build my “pre-play” spreadsheet was to use the tutorial. In that tutorial, they show you a fully-filled out (maybe) film grid, and you can scroll through all the clip thumbnails. And now I’ve got them catalogued so I can mark them off as I find them and can take notes on them by clip name and such.
And yeah, when I finish I plan to write many, many probably boring words about this. :D
Also a thing I somehow missed until now:
Amy, the character in the game-movie “Two Of Everything” is played by none other than Jocelin Donahue. Yeah, that Jocelin Donahue, from House of the Devil. I kept thinking she looked so familiar to me…
In case anyone else was waiting for the Netflix release (Android and iOS) it kind of happened under the radar in mid-November? Anyways, downloaded it on my phone, although note that when you first open it and log in there’s the usual additional download for assets. Not sure if it’ll displace Slice and Dice as my mobile go-to though…
The interface on the mobile netflix version took some getting used to for me when I tried it out. But it works well enough, after a fashion.
Any tips on getting out of the midgame here?I’ve enjoyed this and found a lot of interesting clips and hidden stuff, but it’s starting to devolve into aimless wheel spinning visiting the same clips over and over again trying to find something new to click on.
(Game structure spoiler) I don’t believe there is a specific clip you must see to trigger the ending, but rather a count of how many hidden clips you’ve seen, so random browsing is still okay.
(Hidden mechanic spoiler) Have you searched the hidden clips for hidden clips?
So, at least playing on controller there was some force feedback to help me notice when things were needing to be investigated, otherwise there is a sound cue of about when you should start looking around for clues.
There was a period where I was jumping around not knowing where to find something new, and then I noticed when the rumble was happening it was not telling me to find something to click on that scene, but to move the video back and forth during that moment until I found something.
But, if you are really stuck, to unlock secrets you need to find specific sections to run in reverse to get something to trigger, the sound cue/rumble guide you on this
Thanks guys. Yeah, I figured out that part already, and have seen 100+ clips and a couple dozen hidden clips accessed by rewinding, and at least one set where I went multiple layers deep within a hidden clip.
So it sounds like I’m on the right track and am hopefully close to stumbling on whatever triggers the end. Just gotta keep clicking around more, I guess.
Dunno if it will help, but here’s a link to my spreadsheet tracker.
Caution, that sheet will be very spoilery for anyone who hasn’t spent at least a few hours in the game, which it sounds like you already have. But it could help you to know which clips you might be missing from with areas.
Have we talked about, or even mentioned, the pedigrees of the writers on this?
So for the first movie, Ambrosio, Sam Barlow adapted it himself, from an actual scandalous 1796 gothic novel called The Monk, by MG Lewis. OK.
For the other two movies, which Barlow farmed out to other writers, the instruction was specific: write an actual full-length screenplay, and I’ll figure out how we’ll do it.
So for Minsky, the screenwriter is Allan Scott, the longtime collaborator of Nicolas Roeg. Yes, that Nicolas Roeg. Scott wrote the screenplay for Don’t Look Now (the notorious 1973 film with Donald Sutherland and Julie Christie and red raincoats), The Witches, Cold Heaven, Two Deaths, etc. Oh yeah. He’s also the co-creator of The Queen’s Gambit.
So that’s a get.
And the final movie is apparently based on an unreleased work by longtime David Lynch cohort Barry Gifford, with writing punch-up done by Mr. Robot and Gaslit writer Amelia Gray.
For most of my first playthrough, I was thinking “Huh. It’s pretty crazy that they got lucky enough to have three decent scripts to work from for these fake movies.” Turns out, there’s not so much luck involved at all. They definitely brought the talent here.
Wow! That’s totally shocking. And yet, not at all. Thanks for the info.
I didn’t know Allan Scott’s name, but I saw Barry Gifford’s name in the credits and had to look up and confirm that, yes, it’s Lost Highway etc’s, Barry Gifford. I brought it up in my final thoughts post. It is fitting, even though that particular film is the one that I had the hardest time grasping the plot and point of.
All right, just started this one up earlier today, my little palate cleanser after Callisto Protocol. As with most of Barlow’s stuff, I feel totally at sea, but I will do as I’ve done in the other two games, push forward and hope things fall into place. I have definitely noticed one or two … oddities so far, but I don’t know what to make of them. Still, it’s caught my attention and I’ll see what it leads me.
This is part of a write up I’m doing on the game, but I’ll post it here, in case it’s helpful for anyone.
There are no spoilers here – just some foundational stuff so you’ll at least have some idea where to swim to in the game.
Read the content warning. If that’s going to put you off, that’s totally cool. Don’t force yourself to go through game content that is going to upset you.
Read the “About” in the main menu. I hate that this information feels hidden there, but it will give you background on Marissa Marcel and her career, as well as just some foundational stuff on the three movies. It’s meant to be read before you take on the game, so if you haven’t, go read that.
If you can, try playing on a system that lets you use a gamepad controller. If you can’t do that, mouse and keyboard are fine, and a good 2nd choice. Failing that – if you’re playing the Netflix games version on mobile…well, good luck. I’m sure you’ll get used to the interface? Probably?
Everyone who starts the game starts with the same film clip. Although the tutorial will have you “match-cut” out of it, I strongly urge you to go back and watch it fully if you have not already. Again, good foundational information can be found there.
When you match-cut to other clips, be aware that you are often dropped into the new clip in the middle, and sometimes even at the end of the clip. Get in the habit of going to the beginning of every new clip and watching it forward.
Finally, maybe this is slightly spoilery so I’ll blur it (but I don’t think it’s spoilery, really): in the end, if you dig deeply enough, it all makes sense. Really really.
I’ve got a few more hours clocked into this thing, and my short description would be that I’m at least as lost as I was when I started. I gather from glancing at some posts above that others feel, or felt, similarly during the game. But I’m not really frustrated by the feeling, I’m enjoying the simple act of thumbing through all these scenes and trying to form them into a cohesive whole. Except that I’m really trying to form them into three cohesive wholes, which will then coalesce into an entirely new whole that tells its own story. I think. I can’t go much further without digging into spoilers, so into the block it goes:
So I’ve found some ‘hidden’ embedded scenes, or characters. Mostly just the one character, the woman who appears frequently and says something that I can’t hear and that don’t show up in subtitles. And then just in the last day or so I found entire embedded scenes with her in which she addresses the camera and speaks. And does other things too - in one scene, the lead actor of Ambrosio is miming stabbing a painting with a fake knife when she appears in front of him, then he begins actually stabbing her with a real knife. Then she takes the knife from him and murders him. Except not really, because he is present in scenes that appear chronologically. So I am left wondering who this person, this evidently supernatural being, is and what she has to do with everything else. I’m not sure what she has to do with Marisa or with what happened to her. Guess I’ll just keep going.
Getting back to that whole three movies in one game thing, my brain keeps wanting to stick to one movie at a time, try to piece them together independently, but the game doesn’t want me to do that - picking an image and hopping across scenes will frequently, in fact more often than not I think, hop me to a different movie entirely. Which I have to follow through, search back and forth, looking at hot spots. I do have a feeling for what each movie is about, though I don’t totally grasp the sequential story of any of them. Once again, I have to trust the process I guess, go with the flow.
But I do like it, so far it seems more interesting than the previous two Barlow games I played, and I enjoyed them both quite a bit. I’m hoping the payoff is also heightened, I’m certainly curious to see where things go.
Regarding The One, you should always be able to hear her speak, which in fact is how you start to learn a lot more about what’s happening in the game.
Well, I don’t know - it seems to me that there are two different types of appearances by this other woman. The one I see most often is black and white, usually superimposed over the film I’m watching. Sometimes she just smiles or seems to be watching the movie with me, but occasionally I can see her lips moving but I can’t hear what she’s saying. These are usually quite short too, only a few seconds. The other type though, she seems to ‘take over’ the film for a little while, not superimposed at all but within the movie and usually speaking either to me or to the other characters though they never seem to react. I’m not sure if that’s an actual distinction, just how it appears to me.
Yep, Those are the two main types of hidden footage. But the scenes with here in black and white (on a black background) her talking isn’t supposed to be silent. So that’s weird. She’s absolutely providing exposition in those bits.
All right, maybe I need to fiddle with my sound settings. Or play with a headset.