The Pathologic Dialogues - Part II

Having finished the game, Duke and Kevin (Bachelor and Haruspicus, respectively) ask some questions and try to unpack Pathologic. Add your thoughts / questions in the comments section!

For those new to the blog, go here.

For Part I, go here.

Duke: As much as Pathologic gives players a stake in the lives of the townsfolk, it also works hard to drive home the worthlessness of the human animal. Bodies stacked in cattle corrals, the plague-ridden burned alive, the moans drowned out by gunfire: the game not only brings out the worst in the townsfolk, but in the players as well. The Apiary (a word for a collection of beehives) is teaming with men, expendable, soulless men. Bodies are so much meat lying on the ground, waiting to be burned off in the morning. As if to drive home their point, the Authorities appear on the last day to remind the player of their puppetry. We are mocked for how seriously we have taken the whole thing.

It's probably better to avoid the whole Problem Of Evil, and perhaps religion in general, but Pathologic is full of sacrifice. The Haruspicus performs sanctified murder. The Bachelor desecrates Kain's body in the hopes of finding a cure. Three of the endings are focused on exchange, as well. Destroy the Polyhedron for the children, he pleads. Burn the town for a new world. Or let things play out: sacrifice everyone to restore balance to nature.

Yet every large and small sacrifice is never enough to stop the evil in the Settlement. The bull at the Bone Pillar, which would have yielded panacea, is burned to a black hunk. The witch hunt on Day 6 leads nowhere. The succession of Bachelor to Inquisitor to General Blok: everyone wants someone to blame, a scapegoat, yet in the end the freedom of choice is given only to one person, much like in Dostoevsky's The Grand Inquisitor. The meat shouldn't be allowed to decide. It falls to the Bachelor, the Haruspicus, or the Devotress.

Kevin: Ah, now we're getting into deep waters. What do "good" and "evil" mean in games? This is going to be fun. Or perplexing. Probably both.

Here's the thing: Videogames take place entirely in abstraction. That is, the narratives, images, and mechanics are all just computer code being processed in the electrical depths of a machine. The significance we attach to these processes is entirely imaginative, similar to the imaginative ways we engage with the flickering pictures that a projector beams onto a screen at the cinema. Unlike movies, though, videogames give us an active hand in how this imaginative process unfolds. So the game's events are abstract—they are not literally happening in the real world to real individuals—yet at the same time they are being influenced by a real player who is situated in the real world. We're not just spectators—we're accomplices. So how much do the rules and morality of the real world apply to what we do in videogames? 

Before I (try to) answer that, it might be helpful to think about what "playing a game" really means. In order to play a game, you must first learn the rules. In the case of videogames, you do this by figuring out how to interact with the programmed world around you. Click the left mouse button and X happens. Two items combine to allow your character to do Y. The A.I. of other characters reacts in a certain way when you do Z. Most videogames start off with a tutorial section, designed specifically by the programmers to teach you these rules. By the end of these sections, you have gotten your sea legs. You've learned how you can and cannot affect the world around you, and you probably have a good idea of the game's tone and atmosphere as well.

But Pathologic didn't do this for me. There was no tutorial, no attempt by the designers to communicate to me the consequences of this or that action. After the brief opening cinematic, I was dropped in the middle of the game world and left to fend for myself. I had to construct my impressions about the town and my purpose in it from the ground up, without any outside force to contextualize what I experienced. Everything felt alien, right down to the labored, barely comprehensible dialogue translation. Essentially, Pathologic started me with a clean slate and left it up to me to determine what "normal" and "good" meant in this world.

I needed to have some orienting principles in order to make decisions, so I ended up extrapolating my own system of morality as I muddled through the first few days. I was tasked with fighting the Sand Plague, so I decided that my highest good was the salvation of the town and its residents. I was told that keeping my Adherents alive was important, so I prioritized their safety and wishes above others'. I discovered that my family was affiliated with the Cult of Bulls, so I sided with the people of the Abattoir against the supporters of the Polyhedron.

By the standards of my own in-game constructs, I made a moral choice (though perhaps not the best choice—acquiescing to the Devotress's suggestion at the Cathedral apparently offers true victory and healing for the town). I saved the children and allowed them to rebuild the town; my religious order jettisoned the corrupt influence of Fat Vlad and Elder Oyun; I frustrated the Kains' hubristic attempt to play God using the Polyhedron. To the Haruspicus, this was a righteous victory. 

Does that mean it was truly the right thing to do—that, if I were faced with an analogous choice in my real life, I would confidently make the same decision? At the time, I thought so. In my Day 12 writeup, I went on at some length about how the lives of the townspeople were valuable regardless of how evil they were—sure, they were small minded and selfish, but isn't everyone, to some extent? After reading what you wrote above, Duke, I'm not so sure. These weren't just people with everyday foibles, after all. They stole and lied and murdered without shame; they fastened like leeches onto the earth around them. Maybe I was working in service of a modern-day Sodom and Gomorrah, so irredeemably wicked that the only true cure for its sickness would be total annihilation. 

The town rubbed off on me. Because the game designers forced me to adapt myself to the town instead of outright telling me how to behave, I conformed to the dog-eat-dog world around me. When in Rome, do as the Romans do—even if the Romans are okay with killing people, ripping out their kidneys, and trading them to cult members for healing herbs. 

Pathologic conditions the player to treat life seriously. It does this by making survival and cure the primary motives for the three main characters. On the bright side, this suggests to me that the game designers want us to be shocked by the game's treatment of people as (in your words, Duke) "so much meat lying on the ground." On the dark side, this makes it all the more damning that I killed people to further my "moral" goal of stopping the Plague. Was I acting normally—even morally—within the context of the twisted world created inside the computer? Yes. But that doesn't necessarily make it right.

So what was "good" and "evil" for you while you were playing? Or did your experience as the Bachelor cause you to view everything in a more detached, calculating manner? Put another way: What was going through your mind as you played?

Duke: Pathologic wore me away. My compassion, my good will, made no difference in the world Ice Pick Lodge had fashioned. After a few days, I came to the conclusion that the moronic people of the Settlement were not worthy of my compassion. They didn't deserve what I as a moral human and a moral character had to offer. Organic reason--humanity--was the first thing to die in Pathologic.

I came to Pathologic with a set of principles, the same principles I apply in most every game. Save every little sister in Bioshock and you will ultimately be rewarded. Deliver something in Zelda and you'll get something good at the end. I didn't think I needed to learn the rules of Pathologic's game world in order to survive, and I ended up being used by everyone in the town with very little to show for it. There was no room for a Dudley Do-Right or a Christ figure in the Settlement. Many argue that there isn't room enough for them in the real world, either.

In this world, logic--not mysticism or morality--made the most sense. And that was what I came to prize most: logic, and the ability to make my own decisions.

Knowing I was being manipulated by the major families of the Settlement killed off any sense of "good" or "evil" and replaced it with a dichotomy of independence and slavery. That's the whole nature of a game, I guess--the designers, the programmers, the authorities, put you into a controlled sandbox, choose what you see, don't see, what you can and can't do, and then set an objective for you, the player. Pathologic asks a question. In the Bachelor's scenario, the question is "What constitutes true victory?" True victory become independence: not synergy, not blind faith. There's a reason the Polyhedron is completely outside, grafted on to the Authorities' model of the town: it represents the freedom of man, the objectivity of reason, the power of innovation. It is independence incarnate.

Isn't so much of Pathologic driving home the notion that we, as human animals, don't have true agency? That the only chance to live is to give up our independence for peace, to sacrifice innovation for stability? Isn't this the story of every natural disaster, too? When the chips are down, when Katrina is coming or Vesuvius erupting, humans either A) run and pillage or B) huddle and wait. This is human nature. This is exactly the response of the Settlement to the plague, as well. The nobles strategize from within their homes, the townsfolk curl up and die, and the bandits loot and murder.

Where I was content to accept the world, to euthanize my better half and turn bitter, you, Kevin, decided to hope against reason. You chose to accept the townsfolk for who they were--yes, petty squabbling myopics--and you wanted to give them a future. Maybe not the best future—as you said, the "true victory" is the unification of progress and stability, keeping the Polyhedron and the Settlement. But you kept them alive.

Me? Even with grandiose logic, self-assurance and no small measure of pride, I made my decision for myself. I survived the Sand Plague, but by no means can I claim any measure of moral high ground. Pathologic illuminated the worst in me.

We're working on Part III for next week. Stay tuned.

Pathologic: Day Five, on which the Bachelor is to regret that the existing prefer the living rather than the dead.

At 7am:


The morning of the fifth day has come. 
Infected in the past 24 hours: 105 ppl. 
Died in the past 24 hours: 74 ppl. 
Gone missing: 30 ppl. 
Number of dead at the moment: 370 
Number of infected: 107 ppl. 


You will not be able to defeat this enemy. Less than eight days remain.

Thanks for the vote of confidence, Pathologic.

Today's Map

Day five brings a new low. The plague breaks out in the heart of the Town--just outside the Theatre-turned-morgue--which makes travel a nuisance. On top of this, the infection has intensified: as soon as I enter the area I'm swarmed with rats, and the ragged plague victims lurch around in groups, rather than alone. I can't even walk straight: as soon as I settle on a course, a thick plague cloud will materialize, forcing me to either divert or breathe in lungfuls of disease.

The political climate has also deteriorated. Alexander Saburov, drunk on the authority I've given him, has told me the townsfolk have lost confidence in my leadership. They've called Inquisitor Karminskiy from the city to address the surge in crime: rippers, bandits and rapists have begun to wander the streets in broad daylight. Saburov informs me that, very soon, I will be officially replaced.

Broad Daylight is putting it a bit strong, I guess.

Fire Starters / Innocent People

I get a note from Anna Angel across town at the start of the day. She tells me she has a get-rich-quick scheme: we're going to blackmail Var, the Hunchback, and fleece him for all he's worth. I'm promised a cut of the money and sent across town to collect. Easy as pie, right? Of course, this is Pathologic we're talking about.

On my way over, I get wind from Kain and Olgimskiy that the Saburov, who's gotten fairly high and mighty, has performed a mass arrest under my nose. Sure, he's taken a multitude of criminals off the street, but there are a few holed up in the Town Hall who are obviously innocent. The Executors, guarding the cells, demand a ridiculous sum: 60,000, which is all but beyond my means. George Kain and Young Vlad give me a fair bit, though it's not enough. What's more: Saburov, all too happy to have caught so many criminals, won't listen to any of my pleas for mercy.

I don't have time for this. I decide to pocket the money and go blackmail the hunchback.

When I reach the hunchback, I find him tied in knots for his stripper daughter who has run away from home. He's crushed to find out about the blackmail; of course, from watching Kevin play, I realize this fellow's loaded. Fifty thousand won't hurt him much. The poor soul gives me an advance, and says he'll pay the rest when I find his daughter. The blackmail is enough shame to drive him out of town, apparently, and he wants to leave with family.

I track down the girl dancing at a local tavern and arrange to meet in the now-quiet Tanners District at 9pm.

Vaccine
The vaccine Rubin developed for me yesterday (Unmentioned in the previous post) is not good enough. I find him camped out in his super-secret laboratory, and he tells me that in order to develop an improved serum, we need fresh infected tissue. We need Artemiy Burakh, the Haruspicus.

My cohort Rubin, in his super-awesome lab.

This is problematic, of course, because Burakh has been captured by Alexander Saburov, and is being held in a factory down south. I glean this much from Saburov's ailing wife (who actually predicted my death on the first day) and seek out the holding cell where they're keeping the Haruspicus. It's guarded, and I have no desire to kill town officials. So I hire out some goons from Gryph and set Artemiy free.

"At the end of this, we may be on opposing sides"

The Haruspicus says he'd love to help, that he'll be in the Tanners District at 9pm with a freshly-cut heart, and that I should get there a bit early.

I can already see where this thing is headed. I show up at the appointed spot and poke around for a bit, when I see the ground littered with corpses. There before me is the body of a guard, an infected, and beside them both the scantily-clad body of a young dancer. Her heart has been left exposed; with a sick feeling in the pit of my stomach, I rush it to Rubin's laboratory. After some cryptic comments about blood, he promises me a serum in the morning.

I'd like to end my day on some kind of victory. My purse is brimming with about 50,000--just ten grand short of the ransom for the prisoners. I head to a pharmacy, sell off as much as I can--medicine, food, anything--and head to the Town Council. I pay the greedy Executor his due, and he lets the prisoners free. As they slouch out, I open up my quest diary to see the mission completed--though the note doesn't read with a hint of optimism. "The prisoners are free, but I am afraid there is a great probability of their going out onto the streets after such an injustice," it reads.

Really? Is that supposed to cheer me up?

I emptied all my funds to free these six men, and I'm told they're probably going to go off and become marauders? Thanks again, Pathologic, for the vote of confidence.

My mind begins to race. Maybe, just maybe, there's a chance the Haruspicus didn't kill the Hunchback's daughter--that the girl was some other stripper nobody knows, who just happened to be at the appointed meeting place when the Haruspicus needed an infected corpse. To be certain, I run back to the Tanners District and comb the yard, searching for some sign of the real daughter. No luck.

I don't have enough money to buy alpha tablets to stave off infection. The disease is devouring my entrails, I'm getting hungry, and I'm about to collapse from exhaustion. Perhaps the Hunchback will have some sort of compensation for information about his daughter's death. I lurch over to the other side of town to deliver the grim news--to tell him it was a murderer who killed his daughter, after infection had taken her.

This sends him into a rage. He begins to rant about putting together a "brotherhood of fanatics" to take down the Olgimskiys, who were *obviously* behind it. I leave him enraged, plotting revenge in his attic, no richer than when I came.

I have just one more out. Perhaps Anna Angel, who started all of this nonsense with the Hunchback, will have something to say. I tramp back to the Western side of town, carefully avoiding the infected district, to inquire. She greets me with a laugh: What? The Hunchback is forming a band to take down Fat Vlad and his spoiled son? According to her, this was all part of her plan, and she used me from the beginning.

Before I drop off to sleep, I resolve to comfort myself by checking into the Hospital and Morgue. When I come to the church I find it locked, with seven hundred starving plague-ridden victims clawing to get out. The guards commend me for my wisdom, but speak in hushed tones that I really ought to find some way of getting them food. Stricken, I delve into the infected district to inspect the Theatre, where I was greeted with this cheery sight:

Oh, and this too:



Utterly defeated, I check into Lara Ravel's "House of the Living", stomach growling, and ask for some medicine and food. She doesn't have any. So, with a long sigh, I go to the nearest bed and sleep until morning, worried about what tomorrow will bring.