This is one of those Wednesdays that feels like a Thursday. No sir, I don’t like it.
As the week slowly saunters by, knowing that Friday will bring with it much space traveling and alien-naming, I’m trying to be productive, passing the time in a way that I can sufficiently prepare myself for a weekend in which I expect to never ever stop working.
But the doldrums of summer have weighed heavily on me, making it difficult to find the time or motivation to tackle new experiences that I once had such zest for. I needed something different. I needed a shock to the system.
To fully describe Space Funeral would perhaps require several days worth of entries, each one increasingly more nonsensical than than the last, spiraling out of control until the words were nothing more than ASCII art of a decapitated head. It is the anti-thesis of everything we’ve come to understand about visual languages in games and it’s incredibly inspiring to me that it managed to find an audience. Despite working within the obvious restrictions of an RPG Maker game, I still struggle to think of anything quite like it; the way surreal horror is presented in the context of normalcy. When everything in the world is fucked up, what is considered out of place, if such a concept even exists?
If not for that narrative conceit, I don’t know if I would have stuck with Space Funeral to the end. I may have been content to simply acknowledge its outer layer as something amusing and novel, but not worth more than a few minutes of my time. Even now, I wouldn’t go so far as to declare it some sort of game changer, seeing as its biggest strength is also its biggest barrier to entry.
That all said, I can’t help but applaud a work that so unapologetically goes for it the way Space Funeral does, even if “it” in this case refers to a horse-creature made of severed legs.