The movie is never released, and we learn from The One that this is because the film's director, John Fisher, stole the negatives. It turns out that he's being manipulated by a woman posing as a fellow monk, who's entered a pact with Satan.ĭuring filming, the Director of Photography John Durick and Marissa/The One get romantically involved. Marissa's first feature film is Ambrosio - a bloody, deliciously sacrilegious Giallo-style film about a Catholic priest who abuses his position to indulge in his basest desires. Pretty extreme, but you have to admit that the whole Jesus-on-the-cross imagery caught on pretty well).ĪLSO READ: The Last of Us Part 1 Hits Me Even Harder Than the Original The One even mentions at one point that she was Jesus when he was crucified, and orchestrated the crucifixion as some kind of great art piece. This would certainly chime with the fact that Marissa is very clearly a muse for John, and also why they're so drawn to the medium of cinema, given Muses' mythological association with poetry, theatre, and other art forms (you can bet that if cinema was around back in ancient Greece, they'd have been all over that too!). This has given rise to the theory these two are the last remaining Muses of Greek tradition, of which there were nine in total. Whatever their species, we know that there used to be "many more" of The One and The Other One's kind, but by the time humanity came along there were only a few - or even just the two of them - left. The Other One devours Carl Greenwood (the actor who plays the detective in Minsky) and Amy Archer (the dark-haired woman in Two of Everything). Throughout the game, The One and The Other One 'devour' two people each: The One devours Marissa and John Durick (the DoP on Ambrosio, and later the director of Minsky and Two of Everything). Even though The One and Other One are very intimate with each other and clearly a unit, their divergence on this point leads to a critical conflict later on. The Other One, meanwhile, is apathetic - even disdainful - towards humanity, and simply wishes to use human vessels to continue existing. Even though she and The Other One are parasitic, The One builds up a certain affinity towards humanity, which could explain why she oscillates so often between being weepy and creepy during her scenes. The One is fascinated by humanity, and wants to explore its extremities like sex, violence, and art it turns out that being Marissa and performing in the medium of cinema become the perfect way for her to do this. They are parasitic - capable of "devouring" the hosts they become. They can be seen as demons, entities, or muses, and have existed for thousands of years, if not forever. The two creepy blonde people who appear in the subverse scenes are The One and The Other One. Piecing the Immortality story together is a bit complicated, because there are not only the events that unfold on camera or are directly referred to, but also the backstory and supernatural events that are enigmatically revealed to us by the One and Other One in the secret clips. These two are critical to the plot, and here we'll also explain what they're about as well. In addition, rewinding over certain clips flips the scene into an alternate reality (which we'll refer to as 'the subverse'), there are countless spooky clips depicting a blonde, androgynous-looking woman and man (credited as ' The One' and ' The Other One,' respectively). The story unfolds in a non-linear fashion, so there's a good chance that even if you complete the game, you won't have seen all 200+ clips in it. But in being so ambitious, it can also get pretty confusing, as you match-cut between three different movies set across three different decades to try and figure out what happened in the movies, why none of them ever released, and - crucially - what happened to their lead star, Marissa Marcel. Immortality, the third FMV-based game from Sam Barlow (Her Story, Telling Lies) is the developer's most ambitious game yet.
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