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However, in God of War this dynamic is subverted as the familiar objects exclusively become the objects to interact with. Typically, these levels have the player interacting with the body tissue of the insides and the familiar objects from the outside become dysfunctional. By designing the world with this pattern, the ends of the dichotomy become pushed further as the alien horrifyingly devours the comfortable familiar. In many vore levels, debris within the body creates a hybrid of alien and familiar architecture for the player to attack, fall through, jump, run, or walk on. Where there used to be clouds, a long trachea stretches back into the distance, plush red and lined with tissue. As Kratos and his son enter the body of The World Serpent, the insides of the beast don’t look disgusting or claustrophobic, but rather otherworldly.
![vore games play vore games play](https://i.pinimg.com/originals/f0/59/e7/f059e767eb4074643ffa78756ccac6ec.jpg)
God of War treats the body as part of a grand journey. The Ultimate Fantasy of DOOM is Telling Your Boss to Fuck Off.Tim & Eric’s Bedtime Stories and the American Grotesque.Jabu Jabu’s dungeon plays on the fear of our unknown interiors to create an atmosphere much like a haunted cave or ancient ruin. A person can live their life normally and then learn that a seemingly-innocuous mole may signal cancer. A person may wake up one morning unable to feel their arm, only to realize later they lost blood flow sleeping on it. The average person doesn’t have a depth of knowledge on biology or anatomy, and so the body often functions in ways that surprise and frighten us. Just like Link’s screams and staggers inside Jabu Jabu, the body is a scary place because it is not fully knowable. 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. The only other forgein organisms inside of Jabu Jabu are Princess Ruto and the cows who are horrifically stuck in its flesh. When the fleshy doors shut behind him, Link turns back in a sort of combination of fear and surprise. Wandering through the rooms, it isn’t always clear what part of the body Link has walked inside of. The only thing that can be heard is the breath and heartbeat of the beast.īeing inside of Jabu Jabu makes the player reassess their idea of bodies through the spectacle of not recognizing the inside. There isn’t any music inside of Jabu Jabu as there are in the game’s other locations. Unlike Chuchel, Jabu Jabu isn’t a playground, but it is instead a dungeon meant to evoke discomfort and fear. The Legend of Zelda: Ocarina of Time – Jabu Jabu’s BellyĪs Link takes the first few steps onto Jabu Jabu’s tongue, the camera cuts to the teeth of the beast behind him.
![vore games play vore games play](https://img.itch.zone/aW1hZ2UvOTM0NDEwLzUyOTM2MjEucG5n/794x1000/5y2BLD.png)
Just as Chuchel depicts the body of the fuzzball, the body at play is a playground. The body becomes abstracted space for the player to explore, feel, and search. 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. As the player tips and turns the beast to reach the cherry, Chuchel slides around the tubes like a kid in a fast food restaurant playplace. Upon Chuchel’ s entry of the body, the creature’s organs reveal themselves as a warped, maze-like playground. After fighting past swarms of teeth, the player must rotate the beast in order to help Chuchel navigate the labyrinth of tubes. This prompts Chuchel to jump inside in order to save their precious treat. Near the end of its journey, a large fuzzy beast swallows the fruit. The eponymous Chuchel spends most of the game searching for a lost cherry. Due to this persisting theme appearing it feels necessary to unpack why video games continue to return to the theme of being trapped in or adventuring through another’s body. 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 (2018). Vore levels come in many forms sometimes they’re familiar, other times they’re completely alien. Why have there been so many levels in games that put the player inside of another’s body? 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. This fact has seemingly gone without mention for decades but the evidence is everywhere.