#wrong organ dev

[likopinina]

Anya in Mouthwashing Demo (2024)

[coco-wheats]

I just wanted to crosspost this for anyone who isn’t on instagram

[ovium-sheep]

Dying Star.

I forgot to name it properly oops!

Also I did indeed cook with this one.

[m0nstr0sity]

might as well post this cuz i don't think i'll ever finish it lol

[weeby-monster-the-bastard]

just wanted to make a poll since i really liked playing MOUTHWASHING and it had my favorite elements of horror but also i am a indie DEV so im gonna try to start a project and wanted to know the horror elements everyone thought what made it best

edit: please do not mistake the amputation for making fun of disability or me calling them weird or ugly, i mean it in the way of seeing the amputation happen with noises or screams, i don't mean to offend anyone I am disabled myself and i should've worded it differently, this is my mistake i just want this clear i do not mean it in the way of "ohhhh no arms or legs CREEEEEPY" i mean it in the way of "im so sorry you endured what you did and i promise to do anything i can to help you" i hope that makes sense?

[evilsituation]

photo studies

now we just need a swansea faceclaim

[snakecultist]

"is daniil Dankovsky an evil piece of shit or not" discussion will never end. anyway let daniil shoot patients who are breaking the quarantine

[thedgeofsleep]

I have to believe that our worst moments don't make us monsters. MOUTHWASHING (2024) dev. Wrong Organ.

[dekaja]

May we never go to hell but always be on our way!

MOUTHWASHING (2024) ⦿ dev. Wrong Organ

[likopinina]

Mouthwashing Demo (2024)

[glassrunner]

"Fuck, man. What else is there to say?"

Excerpts from the BoJack Horseman Pony Express

MOUTHWASHING (2024), dev. Wrong Organ

[poobit]

i have many thoughts on how Mouthwashing handles the themes of abuse and the symbolism around it especially as a survivor ... im not gnna hold back so -

first of all i think since its clear the point Jimmy is dismissive of Anya´s personhood and his perception is warped towards what he does as a Captain rather than what he does as a man, it makes sense she doesnt get her own labyrinth or such , i cant argue around that because its realistic he´s so male focused he cant even bother to truly think about what he did to her, i would love it if Wrong Organ decides to do a side story vignette of her own perspective and view in the future if the game proves its successful enough for side content like that.

Assault is something usually not handled with subtlety in games, i think what struck me the most was how real the dialogue of her coping and suicidal ideations and how Curly responded to it felt , the dancing around the subject, the deflection, the "whats next" of the ever impending consequence of pregnancy, how Anya pleads for help from the person she trusts but nonetheless a man unequipped and too emotionally attached to the abuser to be able to confront him, its so real, Curly´s lack of initiative is something Jimmy fully takes advantage of the moment things dont go his way, he turns everyone against him even as a helpless body on a bed because he needed to be in control of the situation, thats what abusers do.

A more sensationalistic game would have easily played Anya´s helplessness and assault for shock for sure, because it would be easy, she is the archetypical victim trope, shes modeled in Wendy Torrance likeness from The Shining, shes meek and unsure of herself and Jimmy shoots her down from the very beginning to make her feel unqualified and cornered, but the furthest the games goes is making Jimmy terror towards the pregnancy and the baby as a boogeyman that crawls and tramples over him. No sights of bleeding legs or her crying or screaming and much less present objectification of her body (which is something that i always think the horror genre has such a struggle not grabbing onto, sexuality is mostly always played up in assault stories especially if the victim is an adult woman), she remains a fully clothed figure and maintains the agency to her own demise, away from Jimmy and beside Curly, which is tragic and obviously still a symptom of horror´s proclivity to back female characters into corners of self inflicted punishment, but the alternative would have been that sooner or later, Jimmy would have killed her.

Its clear to me that the game used Curly´s state as a way to put a barrier between Jimmy and Anya, we dont objectify Anya, but we objectify Curly, Anya doesnt just feel pained and unable to handle Curly´s medication because shes in a sensitive state, her comments about his noises and such draws a line between her trauma and her perception of things as Her fault, she cant handle hearing his struggles and cries trying to swallow a pill because it reminds her of her own helplessness, so she leaves the task to Jimmy, someone who has no qualms in forcing someone down, the emphasis of every treatment as a repetitive process and the sound design is all very poignant and for me, a great way to handle assault as a metaphor, Curly did not consent to being in this position, it is very much still Jimmy´s fault and the fact that Jimmy is basically keeping him alive against his will even to the last moment of the game says everything, Jimmy doesnt love Curly the same way he doesnt love Anya.

The horses are not lost on me, i think horses as animals are often seen as "viril" symbols, strong and often volatile, they can be often hard to mount but when one does the rider and animal are seen as this one all powerful entity, like centaurs, which also carry symbolism of assaulters mind you, so while maybe not intentional on the dev´s part i think it still points to the Horse as a symbol still important in the game, the only spoken audio lines of dialog come from the Pony Express mascot Polle itself, and they are the first to actually confront Jimmy´s self centered line of thought and over-focusing on Curly, if the Tulpar is akin to a beast of a burden then Jimmy beat the dead horse way long ago.

All in this to say that Mouthwashing was a really good experience and i really hope the dev team is interested on expanding a bit more on it because i trust their vision.

[nickywhoisi]

Okay I was gonna go without saying anything about this, but...I caved. I was planning to go my whole life without knowing anything about what really happens in the Mario Illumination movie, but I both got curious one time, and then just today, I had a trailer thrown in my face. Rant under the cut if you want to know my thoughts.

I could have skipped, but my damned curiosity got in the way of my mind. And now I feel like my curiosity in any IP I cherish is getting so irrecoverably punished. Because I saw a Luma, or this fake luma with a mouth, saying the most horrifying visceral things that I know do not belong in a kid's movie. "More meat for the grinder..." "The sweet release of death." In a way that did not convey some cheesy edge, but an actual declaration of violence through the screen. Like that character wad adressing all the viewers, and not at all in contextually appropriate ways. The disturbia, the disassociation i felt wss like reading a horrible mario fanfic but the author was a maladjusted teenager who was earnesy trying to threaten someone they know by invoking death words and mental images too gruesome for the material. If you've seen it, I am sorry, and you maybd have an idea of what I mean.

Just...between this and Bowigi, I am truly never spending money on a movie again. I can't. I just can't condone this. Nintendo has shat the bed for greenlighting this, I feel uncomfortable about how much responsibility Miyamoto and Charles Martinet have in these choices, I feel a deep chasm within myself being cast out from existence and being betrayed, and I wonder for what purpose did I reach out and connect with the Super Mario Bros as a series if somewhere down the line I was not to be repaid for that loyalty. I want Nintendo to just be a game company again. I want my most fond memory of completing Mario Galaxy to be honoured, not shat upon with Spark of Hope and this. Some people who I had respected were surely there, and someone had said yes to all of this...when they should have said no. I hate this so much. I have never known such engulfing hatred as this, and I lived under the thumb of an entire cabal of narcissistic relatives. But I made it out of that, somewhat! What about this? How can i possibly escape and cut ties with what I chose and what provided me such happiness for so long in my life? When did we all decide to stop having standards, and really ask for only the best renditions of what we know to be in our movies? I want Mario to remain pure, and not have that disgusting Pratt voice. I want Luigi and Peach to remain pure too, and not have wrong voices of their own. I knew Illumination was wrong to be collabing with the one company I've cared about the most. I want everyone to stop putting Bowser into uncomfortable forced relations with the human characters. I never liked how Peach was always shipped in porn-y ways with Bowser, and it is no better with Luigi. It may be even worse because I always saw him as so immensely pure a character, cut off from that! It's like crack shipping gone wrong! And do not get me started on the existential travesty I went through having to go through Bowsette.

WHAT THE HELL ARE YOU ALL DOING TO ME, YOURSELVES, AND EVERYONE.

[victorian-nymph]

Kind of funny that the wrong organ devs weren’t going to reveal what curly looked like pre crash until the last possible minute and then we’re like “oh maybe we could have a brief scene” and make up a model and he’s just the most fucking chad looking guy ever. His model features his uniform clearly fuckinb holding on for its life to keep his huge tits in. Just mogs the absolutely shit out of Jimmy and I knows it pisses him off endlessly. Enthralling.

[felassan]

David Gaider: "It occurs to me, after reading posts getting it spectacularly wrong, that there are a lot of misconceptions over how game studios organize and, in particular, who makes the actual decisions about what ends up in your game. Much of it is by folks who don't *try* to get it... but not all, surely. I'll explain it a bit, but a big caveat: I'm going to talk in generalities and roles. Actual titles vary (a lot) from studio and studio, and the bigger a studio is the more segmented their departments (and thus management) is going to be. Even so, most studios, big and small, kind of work the same. To start, you're going to break your devs up into at least three groups: design (what is the game? how does it work?), art (what will it look like?), and engineering (making it go). There can be a lot of cross-over and some departments that don't fit into a project structure (QA, Marketing, etc.)"

Rest of post under cut due to length.

"There's going to be someone in charge of these groups - these are usually called "leads" or "senior leads". The actual title varies. The Design Lead could be a Lead Designer, for instance, or it could be a Creative Director and a Lead Designer is what they call someone further down the chain."

"These leads all report to a Project Director, someone who's job it is to manage the project as a whole. Now, this part gets a little dicey. Depending on the studio, this role can be anything from more production-oriented (they control the schedule) to an outright auteur who micro-manages everything."

"More importantly, it's the PD who hands down the project goals to the Leads: the strategic goals, the needed features, the shape of it all, etc. The Leads then figure out how their department is going to tackle those, and work with each other. If the Leads conflict, it's the PD's role to solve it. How much autonomy or ownership those Leads have is, like I said, really up to the individual PD and that studio's culture. Even in the case of a PD who has a lot of authority over the project, however, they still report to the studio leadership (unless it's the same person, like in a small studio)."

"The studio leadership is going to be giving the PD their marching orders, often in the form of those strategic goals. If there's a publisher involved, that's where the studio leadership is likely getting those goals. The PD, then, ends up being the person who has to negotiate with everyone above."

"What does this mean? If the studio or publisher has concerns about the project, they're calling in the PD to explain. If the project needs more time or resources, it's on the PD to explain to them why and how and when. If there are a lot of layers above the PD... yes, it's a looot of meetings. So while the PD is managing up, the Leads are managing down. With big projects, that means managing the "sub-leads"... those in charge of the individual sections of their department. It'd be unmanageable otherwise, and the bigger the project the more of these there are going to be."

"What does this mean? Well, let's look at the way BioWare broke up Design (as of 8 years ago, anyhow). Design consisted of Narrative Design, Level Design, Systems Design, Gameplay Design, and Cinematic Design (who worked in tandem with Cinematic Animation, which actually fell under the Art Lead)."

"The sub-leads are handed their goals by the lead, and work out how they're going to produce their particular corner of the game and also, more importantly, how they're going to work with each other. Conflicts between sub-leads are handled by the lead, as are ANY conflicts with other departments. What conflicts could there be, you ask? Dependencies, for one. "I can't do X until Y is done, but Y is someone else's job". Or scope. "We need 20 doodads but the sub-lead said they only have time to make 10, what now?". Even outright differences in vision. Big projects means room for a LOT of egos. If you think this is easier with a smaller (or indie) project, the answer is "yes, but not really". The roles are still necessary but often get combined into one person. Or outsourced, and someone still needs to manage the outsourcing. Things fall off over-full plates. It's a different kind of hard. Anyhow, the point of all this is: the further you go down the chain, the smaller the box you can play in is. The less you have actual say over, and even then that say is subject to being overridden by ANYONE above... and must still play nicely with the needs and goals of the other departments. You also need to keep in mind that projects are constantly in flux. Problems that were thought solved need re-solving. The team falls behind schedule and scope needs to change. You are constantly in a dance, within your tiny box, trying to figure out sub-optimal solutions that cause the least pain. And there will be pain. Shit rolls downhill, as they say, and when the project encounters big issues that means those high up have the sad job of figuring out how to spread it out and who can afford to take the hardest hit. If you're that one, you take it on the chin and you deal. This is the job. Lastly, I'll re-iterate: not every studio works this way, exactly. The roles exist, sure, but are not divided up so neatly or as easily identifiable. Even so, this should give you an idea what "lead" and "sub-lead" mean... and perhaps help you imagine what it's like existing further down the chain."

[source thread]

[emberdune]

Mouthwashing (2024), dev. Wrong Organ