But after her run in with the Queen of Maggots, she cannot have this peace. She has no friends, no family, no hope for the future, and only wants the peace death brings. She occasionally plays the piano, which lures the stray cats in the area to her apartment. SheвЂ™s the lady in the neighborhood who nobody pays much attention to because she keeps to herself. But again atypically for a video games, the protagonist is a lonely forty-year-old woman named Susan Ashworth. This might be easy for an ordinary action hero type. She grants you immortality and gives you a mission: Exterminate these parasites before they cause anyone else more harm.ДЄnd who are you, anyway? Kill five psychopaths. WhatвЂ™s more, there are five deranged people (or creatures disguised as people) out there known as the Parasites, whose only wish is to cause pain. The Queen tells you that it is not yet your time to die. You awaken in a beautiful field and, after some wandering, find an old woman who describes herself as the Queen of Maggots. The first thing you see in this game is the main character actually killing herself. Not just anybodyвЂ™s though, the main characterвЂ™s suicide. While far from perfect, Harvester GamesвЂ™ sophomore effort The Cat LadyВ displays the potential for video games as a narrative medium that meets and potentially exceed novels and movies in terms of emotional involvement. One game, though, makes a markedly admirable attempt to utilize the video game medium to tell an affecting and dark tale of depression, solitude, mortality, and horror. Minimalist games like Brandon AbleyвЂ™s Ex AmanteВ come to mind. But independent games are slowly filling this lack of pertinent real-life themes. There is, to put it differently, a lack of more introspective conflict in video games. They are, sadly, often neglected for more epic topics of world-saving, conspiracy-cracking, crime solving (or creating), and prophecy-fulfilling. Themes commonly touched on in novels and movies such as coping with solitude, working through the throes of depression, and dealing with the cruelty of the world would benefit greatly from the potential empathy that can be established video games. A narrative-driven video game can and arguably should be a chance to develop a greater sense of empathy within the player. Rarely however is the player-character attachment fully taken advantage of.

Since the player controls the character, they follow the narrative in a more intimate way than a spectator-centric medium. This is due to a higher level of interactivity. The attachment formed between a player and a character in a narrative-driven video game is in some ways greater than those formed in movies or written stories.

Cat lady parasite game