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Immortality *spoilers*


Stanley
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1 minute ago, footle said:

Opinion.

 

1. there’s mention that the director ran off with half the film, so it wasn’t complete and couldn’t be shown. Later, he gives it back to the one as John.

 

I've heard this mentioned a few times now but I must have missed it. Is it a hidden clip or a regular one?

 

2 minutes ago, footle said:

2. I don’t think so, no. You later see Marissa/the one having sex with John and killing him.

 

But that's not real, though, is it? Because John is alive again in 2oE. The 'deaths' that The One enacts on John in Minsky and Terry in 2oE (who she kills with the golden microphone) seem to be pure fantasy, as we then see those characters again later.

 

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3. my understanding was the one was both Marissa and John (there’s a hidden clip where - after getting the ambrosia film back - she states she missed Marissa) though I’d not caught the bit about Amy. 

 

By 2oE, The One seems to have completely divorced herself from John: in the hidden clips when they're doing the screen readings, John disappears, suggesting that The One is disappointed in him to the point where she doesn't even acknowledge him. Or that was my read, anyway.

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1. Yep footle is right here. Its ambiguous as to why the director doesn't release the film though and takes the negatives. Some folks think he may have seen The One weirdness going on during editing, others suppose as it was his first adult film it went too far, and some reckon it might have been the scene where John and Marissa have sex and basically say screw you to the director. I also wonder if it was sabotage by The Other One, who shows up midway through the filming of Ambrosio and thinks The One's games are a stupid idea.

2. Yes this is a bit weird, I reckon The One did actually get jealous of Carl as John was her muse. I'm not sure of the timeline but maybe its that The Other One had already taken over Carl at this point and The One didn't want him liasing with her precious John.

3 + 4  The One is piloting John and Marissa through the whole of 2OE (you can see this from the reverse rehersal clips where John isn't even present and instead him and Marissa are replaced by The One). That's why the strain of it causes The One to start bleeding etc and The Other One is trying to make her stop. The Other One is Amy from the get-go I believe so her relationships make sense. Still not sure why Amy/The Other One is fixated on the scissors though, I think its just a red herring to get you sus about Amy in 20E's clips. Because at this point we know The Other One is looking out for The One.  

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Cheers, @Alan Stock!

 

21 minutes ago, Alan Stock said:

Still not sure why Amy/The Other One is fixated on the scissors though,

 

What makes you say this? I know there's the scene where she uses them to cut off Heather's pants during the dress fitting, but I can't remember any other association between Amy and scissors.

 

And reading through yours and @footle's responses reinforces my point that we should have easier access to all of the hidden clips once we've found them.

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  • 2 weeks later...

Fascinating to read this having just finished the game, partly because I'd missed some story details, but also because there's so much focus on plot interpretation here, which I feel kind of goes against the spirit of a thing that explores art more as a force of love, passion and violence.

 

I did definitely get into uncovering the chain of events, but far more motivating for me was watching how these films were made, the little tensions in the performances, how things connect over time, and the layers of artifice in the fiction. There was a point late on when I was watching a scene in 2OE and had to remind myself what was 'real' and what wasn't, and then catching myself getting caught in the idea that any of it was real. This is what great metafiction does.

 

More than any other game I've played, it felt like going down the rabbit hole and repeatedly finding there was another level beneath. Then by the time I wanted to get out of it and find the end, I realised I didn't know how, and it became a labyrinth. As an experience, it's like being beckoned in multiple intriguing directions - into each film plot (and the themes that connect them), plus the stories of the actors, and then the presence of the demons, and then thinking about how the game itself was filmed, and then the meaning of my own role in the whole thing. And all these elements are linked. It's a stunning achievement.

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