If there was only one major example one, or even a few coincidental cases, then maybe it could be chalked up to the visions of individual developers, but this has been a long repeating pattern for decades now. Leviathan Axe: A Review December 21, The Nookfolk have shed the societal constructs of the Greater Fallen London and returned to the familiar comfort of being inside the body. In this regard Fallen London can be interpreted as representation for the outside world; full of chance, danger, and mystery. Generally these levels focus on the interactions between the eaten and the body to signal something about the fascination humans have with unknown landscapes. Gears of War 2 — Intestinal Fortitude As the history of anti-vaccine movements show, people get anxious when the societal standards of medication change. Thus, the intestinal labyrinth of Chuchel rejects the idea that the body is purely functional, transforming it from a vessel to be managed for survival into a designed ruleset without liability.
Gemma. Age: 31.
As the player explores the insides of the beast, Link screams in fear when he falls down the various tubes, anticipating the horrors to come.
Sasha. Age: 28.
Why are There So Many Vore Levels in Video Games?
But these instances appear in games all the way back to the Atari and are still showing in titles as recent as God of War The only thing that can be heard is the breath and heartbeat of the beast. But because games allow the insides of the body to be seen and explored, they provoke an emotional response rooted in our own personal experiences and histories around bodies. Typically the player is put in a position of fear and the body becomes an antagonizing force. This fact has seemingly gone without mention for decades but the evidence is everywhere. For Sunless Sea , the only true escape comes from reverting to the human place of birth. God of War treats the body as part of a grand journey.