i don’t think i need to explain the significance of seeing living beings in this DLC. if lore serves, the Lost Archive happens entirely in “raw code”, in what we can only assume is the human mind experiencing being inside a computer’s head. “no simulations, no environments”. to say that the brutalist aesthetic works like a charm to convey the dryness and inhospitability of such an experience is an understatement. but, as Desmond’s Journey in the ACR main story shows, when memory impressions escape into the code, they begin to make a more tangible appearance in the landscape, and affect the user’s experience.
now, given the DLC is not technically portraying a human mind experiencing code, but an artificially intelligent construct based off a human being’s experiences and thought patterns, itself experiencing said human’s memories… things are gonna get whacky. so i thought i’d make a quick study on when said impressions make a presence. i might do other posts on game mechanics being used to portray stuff like weather patterns, and of course the sceneries and furniture sets, but i thought organic life contrasts against the overall setting of the game and thus leave more of a mark.
Memory 1, THE END IS ONLY THE BEGINNING:
the animus island. rip bestie, you’ll be dearly remembered. though the overall layout of the island is the same as the one in ACR’s main story, it’s missing the overcast sky, the blue tinge saturation, and quite a bit of decay from the blocks of brutalist cement piercing the island or floating about. it’s also sliiiightly smaller, so one can imagine this is what it looked like before the coding of the blackroom got all wonked up.
flowers at Clay’s funeral. ngl it’s still a punch to the stomach. still, what’s a funeral without some flowers? a few bouquets by the headstone and a garland, they got the basics covered at least.
roots inside grave path. as you delve through the pathway of the grave plot, you can spot a few stray roots and some leaves poking from a rift in the ground above. it really sells the imagery, for better or worse.
flock of pigeons. ah yes, good trusty pigeons, always there to let you know when there’s a soft haystack just out of sight, or in what direction to aim your leap of faith. not the last we’ll see of them, but their first appearance so early and in such an inhospital setting sure breaks a bit of the tension from the earlier scene. brings you back to simpler, easier times, i suppose. a measure of safety if you will.
Memory 3, ABSTERGO:
garden courtyard. given the setting and the possible european location of the memory, it’s likely to stand for an inner courtyard in an assassin hideout. the cozy warm lighting and overall layout also gives that sense, and it’s a stark contrast for the following office maze hallway you’re sent into when Harold addresses Clay.
Memory 5, BLEEDING EFFECT:
flock of pigeons. i know right, what a place for them to show up again. feel like they (read Juno) are mocking you more than anything. nothing else to be seen when it comes to living things in this memory, to no one’s surprise. i have my own theories on why they are here to begin with, but maybe another day.
Memory 7, THE END OF THE LINE:
second garden courtyard. i think it’s quite safe to say this is the code representation of the animus island. not just because of the overall layout but it’s clearly timed to be soon after Clay Prime is on the out bus and uploading the construct into the animus.
seagulls. are you teary-eyed? i sure am. it’s all poetic and shit but, i love that it’s a reassurance that even if he falls, he won’t fall far. seagulls are a sign of land nearby after all, so yeah, back to the start we go~!
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