It's said that great art is only a torso, requiring the spectator to add a part of himself to complete the piece, aand this is a perfect example. I think that the ambiguity and the unclear nature of the story is a part of the beauty of the game.
Perhaps the creator did not even have a coherent story in mind and just wanted to draw cool ♥♥♥♥, then sort of rearranged it in a way that could be interpreted as a journey. The old man dies serenely, ascending to some heaven/nirvana type thing.ĮDIT: Ultimately I thinkk this is the type of game designed to allow fans to speculate over it forever. Having the old man gone through this journey of self rediscovery, the dragon now finally accepts its sacrifice and releases him of pain. He comes to terms with his experience and rearranges his thoughts, and since at the end we see the boy going through the rest of the book, finding blood and suffering in it, as the last piece needed to complete the puzzle, the old man comes to realize the only way to truly appease the dragon is through pain and surmounting it. He starts to obsess about giving it gifts, but the creature turns it down, cripples the boy and quite possibly destroys his city/the world (I assume him to be the root cause of all the devastation in some pictures in the last chapter).Īs to the old man burning up, I think it's more like achieving peace after coming to terms with your life.Īll the last chapter is is the old man going back through his memories and rearranging things. Here's my two cents: the boy sees the creature and reads up on it. I don't see the old man disappearing as burning up in the sun. If you're still reading this thread, I'd be interested in your thoughts. Death? Final agony before enlightenment? Symbol of his burning desire?
Game gorogoa endings how to#
It made me sad that the old man burns to the sun, like the moth to the flame, and I don't know how to interpret it. The old man gets the color red from the blood of the boy's chains in the book.) He is rewarded by the creature, who fully shows himself for the first time. (For instance, the boy got the red fruit just by accident thanks to a bird. The old man looks back on his life, sees what went wrong, rearranges pieces, returns the color to the black fruits in a different way. In the first picture of the creature the boy finds in the book the bowl is carried by both the boy and the old man, so my guess is the wisdom and insight of the mature self are needed before the offerings are accepted. The creature refuses the boy's offerings (and by doing so cripples him, I think). I have a different interpretation of the ending. And the frustration when he has achieved nothing and overturns the table. Especially in the third part, with the many religious symbols, like the candle, bell, images of monks, a rosary, offerings and sacrifices, the boy climbing forever, the mountain. I agree with you that the desire to find the creature feels like the boy/man is searching for enlightenment. It's more of an emotional experience, recognizing something, hard to put into words. So much is left out that I am not sure I understand what story the developer wanted to tell. The second time I paid more attention to all the little details, which made the story even more confusing for me. I played the game twice and the first time I was focussed on the puzzles. So the ongoing crackdown affects even the biggest developers, not to mention the fact that around 14k small studios have closed in China since July 2021.I too was left with a feeling of sadness. Tencent, the largest game company by revenue globally, reported last month that its domestic games revenue decreased by 1% due to the “minor protection measures” and other restrictions implied by the Chinese government.
NetEase founder William Ding Lei recently stated that the company expects the overseas market to account for up to 50% of its revenue, in contrast to the current share of a little over 10%. For example, mobile studio Longtu Game, which employs over 600 people, wants to launch more games for global audiences. Taking into account the pause that happened in May, Chinese game developers are concerned that the government has no plans to lift the restrictions.Īs a result, some developers have already started seeking new opportunities overseas. The list, however, was still relatively small compared to the pre-freeze era, when the NPPA approved up to 100 titles per month on average.Īnother problem is that most games out of 45 approved in April were developed by small companies. This might be a warning sign, considering that Beijing previously ended its almost nine-month licensing freeze and approved 45 domestic games in April. The National Press and Publication Administration (NPPA) didn’t issue a list of approved titles for May, according to a South China Morning Post report.
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