![]() The infection that is consensus reality has crept in and robbed her of this impossible thing that happened to her. Now, years later, the pair hunt for it again, but late in life she worries that it was never really true to begin with. When they met, it made him fall in love with her. Their relationship is founded on an encounter that one of the pair claimed to have as a child: once, vaguely, this thing reared up out of the reeds in front of her, mysteriously wavering in and out of existence before receding. Two elderly cryptid hunters put the protagonist on the case to find something that lives in the reeds around Martinaise. ![]() As Breault writes, the end of the game returns its characters to “a status quo too boring to depict.”īut I’ve been thinking about the cryptid.Īmidst all the excitement of discovery and mystery, the game wraps its ending of ideological change and national struggle and personal discovery around a semi-mythical creature. When life returns to normal, the reader doesn’t have an incentive to stick around. Philosophers Deleuze & Guattari said that the novella was organized not around the question of “what will happen?” but instead “what happened?” As soon as you can figure out the world, as soon as the mystery that kicked us off is solved, then life returns to normal. It’s a game that takes place in the middle of a big world and many lives, and it functions similarly to a novella. Your strange detective roams a small section of the world and then, at the end of things, probably continues on with their life in some capacity. Chris Breault has done a great job at outlining the stories that Disco Elysium tells and discussing them in terms of what lasts about them and what doesn’t.
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