: As Eight Nineteen pointed out, they both debut secretly before here, but I do
: think this is close to the heart of it. Without the secrecy, this level
: would set up a simple duality: Durandal cements his villain role by
: kidnapping you, and Tycho rises to oppose him. That seems too
: straightforward for Greg K's style. Instead, we get an impossibly hidden
: message, and an unmistakable tease in the first terminal: ---
: I have dev@``~~C#mon#`~ Tyc~~B``ou to play: If you win, you
: go free, and we continue our relationship on friendlier terms.
: If you lose, you die.
: ---
: The "Tyc" garbage text serves as foreshadowing not of the future,
: but of the present conversation you aren't clever enough to find.
: Now *that's* the kind of storytelling that continues to be worth discussing.
Yes indeed. We also tend to forget that story is told through a series of terminals in a game (not a series of web pages). As such, we all experience the story differently as we play, missing terminals, reading them out of sequence, etc. Only by playing and replaying can we piece the story together. But then there are the pieces we have no hope of finding no matter how good we are. The secret terminal on Blaspheme Quarantine being a case in point.
Cheers
Hamish
