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Literary Elements In Avis Wolf Rider

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There are many, many things you can do to help, so please feel free to jump into the Forum and ask what you can do to help! See also: How LibriVox Works. LibriVox volunteers are helpful and friendly, and if you post a question anywhere on the forum you are likely to get an answer from someone, somewhere within an hour or so. So don't be shy! Many of our volunteers have never recorded anything before LibriVox. The roles involved in making a LibriVox recording. Not all volunteers read for LibriVox. If you would prefer not to lend your voice to LibriVox , you could lend us your ears.

Proof listeners catch mistakes we may have missed during the initial recording and editing process. Readers record themselves reading a section of a book, edit the recording, and upload it to the LibriVox Management Tool. For an outline of the Librivox audiobook production process, please see The LibriVox recording process. We require new readers to submit a sample recording so that we can make sure that your set up works and that you understand how to export files meeting our technical standards. Once you choose to approach the wolf, you are shown a short cutscene and the screen fades to black, allowing you to make your own interpretation of what happens subsequently, before control is then returned and you can take the girl into the house.

You are allowed to draw your own conclusions as to what has left her in such a disenchanted state, as you walk her slowly towards her final destination in the pouring rain. Once reaching the bedroom, you are then shown the chapter score screen, told the details of your success and are subsequently returned to the apartment, where you can pick the next character you wish to use. Once you have completed all six chapters, you then play the epilogue, after which all six girls will be returned to the starting apartment, so that you can replay the game. Where The Path seems destined to cause controversy and divide opinion is the interpretation that people will draw from the interactions with the wolves by the girls. There is something inherently repellent about the thought of violence against women in general and girls in particular, which can be seen by the moralist outrage and frenzy in the news media whenever a young girl is murdered or goes missing.

This will be a very uncomfortable notion for a lot of people, especially given the huge breadth of possible interpretations left open to the player. With so much left to the imagination, the first conclusion most players will naturally jump to is that they have caused the death of their character for the sake of seeing a success screen. This is not explicitly stated in the game, however. The girls are seemingly oblivious to such a threat in the cutscenes and there is certainly no explicit evidence of rape or murder after the wolf encounter has concluded. The truth of the matter is that what you take out of the game depends entirely on what you bring in with you. The Path is not a game that should be taken lightly or literally.

Like any fairy tale, it is packed full of symbolism and allegory, and it is only in literal interpretation where you might draw the conclusion that The Path is a game that allows you to act out the rape and murder of young girls and women. Such an interpretation is born out of a superficial, tabloid mindset, fed by the paranoid, fear-mongering news media. The Path takes this concept and turns it on its head. It even subverts the fundamental preconceptions you might have about what constitutes a win condition.

In most video games death is throwaway and meaningless — undone by a simple quickload. Here, it is permanent and indeed necessary to progress in the game. In this respect, The Path is unlike any video game you have ever played and genuinely breaks new ground. The Path demands that you look beyond the obvious: that you look beyond the crude 3D models and use your imagination to fill in the gaps left open for you. Through its characters, the game touches upon themes as diverse as the death of innocence, the fear of the power of nature, the loss of inhibition or responsibility, questions of sexual identity and sexual awakening, and the fear of rejection.

These themes are not immediately obvious and take an intuitive leap on behalf of the player, but demonstrate how The Path will mean different things to different people. If you care about video games as a form of entertainment or a form of art and are compelled to defend them against the usual tired argument that they are solely playthings for kids and are simply not as worthy or culturally significant as film, television or literature, then I urge you in the strongest terms possible to play The Path. Take a more sedate approach, however, and you will see everything the game has to offer and give yourself more time to look beyond the surface detail.

But by far the most daring and important feature of the game is the manner in which it treats death. The message is that if life is to have meaning, there must be death, and that if people are to grow, death must be accepted as being just as important as life. Whether you believe the deaths of the characters in the game to be literal or metaphorical or not will be a matter of personal choice, but there is no escaping the significance of how The Path takes us away from the way we normally play video games.

The Path challenges the very core of what you think a video game can be and what themes they can tackle. As a video game, it may have many technical flaws some are deliberate design choices, but some are just bugs and glitches, regrettably and may be deeply provoking or uncomfortable at times, but The Path is a hugely significant work in terms of what a video game can be beyond the realms of throwaway entertainment and is potentially a seminal moment in video games. The Path is one of only a handful of video games that does this.

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