Hello everybody, I hope you are well. I am Gabriel also known as Meethos, and I am the art director of
Pathologic.
Every time I see what your pledges amount to I am overwhelmed with emotion. On the one hand I want to climb an electricity pole, produce a custom-made rosewood-plated oboe and play a vigorous, no-nonsense sarabande. At the same time I feel a strange urge to take a train to the countryside, wait until nightfall, infiltrate a barn and strangle half of the cattle. I am genuinely touched and it is not at all unreasonable to expect me to thank you for supporting the project.
But are you not bored with thanks already? I would rather not beat around the bush referring to "vote of confidence", "realised potential" and all this kind of twaddle. Instead, let us talk about why your support really matters.
Let us talk about crowdfunding, this witty double entendre of a word. There is, indeed, a crowd of backers prepared to invest in a project they like. But there is also a formidable throng of competitors doing their best to get invested in. Where crowdfunding is concerned, small-time indie game development is a room chock-full of people. It takes someone of appreciable height, someone with an aptitude for loud publicity to get noticed. But, as we can see, being a square peg in a round hole works too. However imposing some may be, however stentorian — it is often that quiet, socially awkward kid, a touch-me-not savant who brings the money in. Likewise, some games simply refuse to conform, to follow instruction, to make themselves fully accessible to somewhat unpretentious grasp of a modern lumpen-consumer. These games, I dare say, are the ones worth their salt. Nevertheless, they often struggle to get the attention they deserve.
This is where you come in, the gatekeepers. It certainly matters a lot what projects get funded. But it is also of substance which of them do not. Let us take a long, hard look at the gaming situation today. See how regressive, how ruthlessly exploitative it has become? In this ever growing profusion of ham-fisted plots, carbon-copied mechanics, platitudinous settings and borrowed assets, your choice what to back and what not to becomes a meaningful act of cultural resistance. It is an event of magnitude: it gets the message across; it sets the pace; it educates. It ushers in a true Golden Age of independent game development.
For this I am grateful indeed. Thank you for letting us have all these great games in a couple of years.
Now... hold on a moment, what was all this about? As an art director I am supposed to write about the graphics, right? Truth be told, I prefer not to discuss my work before it is done. Noblesse oblige, however, so I will try to relay here some plans and intentions pertinent to a single aspect of
Pathologic's visual overhaul.
There are rumours, perhaps apocryphal, that some fans of the original
Pathologic would rather have the Town remade as close as possible to that produced a decade ago. From where I am standing, this is hardly feasible: time has passed, and time introduces change. It is a natural process, opposing it is denying evolution, and this is not the course I may be easily persuaded to take. Rather than that, I am inclined to tear the whole place down and reinvent it from scratch. The opportunity afforded by Nikolay's prose is simply staggering, and I believe that merely a fraction of its potential was brought to life in the original game. I hope I will be able to correct this and to transform the Town into a separate, internally coherent semantic unit.
There is terror to be found in any habitable space, please reread Ballard's High Rise if you doubt it. In
Pathologic, however, the inherently problematic nature of any rigidly organised territory is further aggravated by the particular relations of production the Town is governed by. On the one hand we have a small coterie of local aristocracy with their seemingly profligate lifestyle and its distinctive amusements. On the other hand, the Town is largely populated by those whom Guy Debord describes as "artificial neo-peasantry." Moreover, the city seems to be caught in the middle of the most troublesome stage of its development that sees the values of the working class home with its largely rural nature deliberately substituted with those of emerging bourgeois domesticity. The very fabric of interpersonal interactions within this formation is reconstituted in a manner not at all unlike the cellular level changes sometimes caused by an infectious disease.
The ambition of my work, then, is to make all these factors legible, to draw upon the complex framework of urban psychosis, to mobilise every single construction within the Town as means to bring the drama of
Pathologic into sharp focus. This is what should be done and it is, to the best of my knowledge, not impossible.
Take care, everybody, have a great day. Bye bye for now.