Author: Brian

The intentionally ambiguous beginning to the novel Wolf in White Van by John Darnielle, along with repetitive plot structure and subject parallel, reveals a conflict between the a posteriori reality and the perception of that reality through a delusional character. This dynamic is represented through the narrator’s use of a real-life role playing game which exposes parallels between concepts in that gaming genre versus how Sean Phillips, the protagonist, sees physical interactions.

The first instance of this relationship occurs through Sean’s physical description of the house. We can imagine that way the scene is described resembles that of a first person lens that pans across the various objects in the house. The technique of description through motion, that is, detailing his surrounding while being carried to a final destination by his father is representative of how a fictional character in game would observe his surroundings. However, a more concrete connection occurs when we realize that Sean actually describes the route (and therefore the interior) twice. On the first instance, he ends up sidetracking from his intended destination, his room. We can attribute this scenario as a reflection of unfamiliarity when first starting a new game. This also makes physical sense as we can assume that Sean has been away from his home (in the hospital) for a long period of time and coupled with the physical trauma of a later realized incident that could incur memory loss. On the second instance, however, although the description of the so-called journey is similar, we end up where we should, the bedroom. This may reflect a new player’s experience with a game: in a first play-through, the player might get lost and end up in the wrong place whereas in the second play-through, the player now knows what to expect and proceeds to the correct location.

Another parallel occurs when Sean begins to imagine what the world would look like from above. This perspective immediately reminds us of a world map or mini-map that is given to a character in a video game for the sake of positional reference. Yet, the world map also functions by providing the locations of other important areas to the player. Therefore, we may think that Sean is activity searching for the next important area and the directions to go there. This seems metaphorical of what we can perceive in Sean as a depressive disorder that is rooted in confusion on the questions ‘what’s next?’ Thus far, Sean does not seem to have found his answer, but the concept of a world map still remains important in considering future actions that he might take.

Both these parallel exist alongside Sean’s physical world. The comparison to video games is thus used to illustrate a potential mental state within Sean that shapes his perspective and subsequently, how he narrates the world to the reader.

What struck me immediately when I first looked at “Her Story” was the model of the computer screen, reflective of the Windows 95 operating system. It was a recognizable UI that applied both to the desktop function and the program design coupled with a horrible search function. In other words, completely realistic.

Yet, a couple of minutes into exploring the game, I found that the story was difficult to invest in. We are presented with this figure of some significance, but the only thing we see is her sitting in an interview. Presented with this situation, based on the username given to me, AUTH_GUEST, and the database arranged like that of law enforcement, I believed I was either a private investigator or part of some law enforcement agency assigned to this specific case. Perhaps this lack of personal investment is intentional, since you are a member of law enforcement and therefore you must be unbiased in your investigation. On the other hand, if the videos were meant encourage the player to deviate from the stoic nature of law enforcement with regards to individuals with mental illnesses, they surely failed to invoke empathy for the woman’s situation.

What is also very interesting is the sound in the game. Especially the loud, incessant droning of what may be the computer box or air conditioner. I would argue that the droning sound is important in two ways. Firstly, it creates a sense of uncanniness in the player, not quite fear, but a form of uncertainty that adds to the experience of solving some form of mystery. Secondly, the droning, at certain stages, increases or decreases in volume. The sound can therefore be used to represent a mental state where the individual is constantly either unable to focus or annoyed, which may be indicative of the woman’s psychological condition. There is also a pseudo retro arcade soundtrack layered on top of everything else that only plays when I returned to the home search screen on the computer, although I am not sure as to what purpose that soundtrack might play.

The final point of interest rests with the artwork on the physical computer screen, such as reflections and glares. In fact, what is displayed on the screen provides much more information than just the search returns or the desktop icons. From the glass window we can see the glare of two lights that are oriented in a way to suggest an interrogation room (two long lights side by side on the same plane) as well as a hint to who might be sitting in front of the computer. At the end of the story, we learn that the female figure in front of the computer is actually the woman’s daughter. The question of why the developers chose the player to become such an intimate person still remains to be seen.

On the decor filled oakwood wall on the north side in Manuel’s Tavern, there is a sign that stands out from the dark colors of the rest. Here, Pabst Blue Ribbon aims at a different audience with a different purpose: to become the social beer, the beer that is always there at a party.

You can read more about it here.

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