Human. Make Mythology Great Again!

Being half the Mokshanin (in the common people by Mordvin), I was very curious to look at the brainchild of domestic developers The game The Mooseman, the basis for which the Komi-Permyak cosmogonic traditions were part of the rich mythology of the Finno-Ugric peoples to which, as the reason for my special interest, belongs to the Mokshans.
Finding a great sympathy for mythology as a scientific discipline in principle, for my shame I was forced to admit that I actually know nothing not only about culture, but also about the traditional beliefs of the people close by origin and language to the people of my father. That is why for me a journey into a hitherto world of the game The Mooseman turned out to be as useful as informative.

* * * Myths have always served as a kind of “guide to life” for people, in which knowledge about the world was transmitted with each new generation (in the present, an analogue of the myth can be considered an advertising that forms a certain system of values ​​and a model of behavior). Repetition by shamans, druids, warriors or leaders of the actions of heroes that have been reflected in the myth is a common practice.
As far as I understand it, our character acts as a kind of hunter or spiritual leader, who will be like one of the seven sons of God Yen to make a trip to the underground world behind Schondi’s fire, and then deliver him to the upper world where “Schondi fire can reach all other worlds”.

As can be seen from the foregoing, the plot of history is a mythologist of the change of day and night, where the fire of the Sun is the fire. However, as it passes, the plot of the myth is constantly surrounded by many details, which allows the player to collect the general picture of the Finno-Ugric mythological worldview like a puzzle (in the game the role of fragments of mosaics is assigned to idols that are found along the way). I will not naturally retell all these traditions here, but I only note that the player will tell in particular about the birth of the world;About how Schondi’s fire was in the dungeon;about the last journey of the soul to the grief of the ancestors;About ancient spirits (not the most, by the way, friendly) and a lot more about.

* * * When you directly get https://casino-stars.co.uk/ acquainted with the game to my mind, the first thing (I think, like many others) came the notorious Limbo platform from the Danish geniuses from Playdead, finally conquered the gaming world of the triumphal inSide.

Here is the general gloomy atmosphere and the picture to it, but, with more deep immersion in The Mooseman, the similarity with Limbo became already less obvious, even if the gloom of the visual component as a whole did not go away. In addition, the understanding came quite quickly that in the case of a fummist, such an approach to design is justified by the essence of history and is designed to reflect the reality of the myth in which the line between sleep and reality is purely symbolic in nature. Simply put, if in the case of a Danish platformer it seems that it is the visual style that evolves melancholy that serves as a sort of locomotive and leads the game in the right direction, then in the case of The Mooseman the necessary environment is created by the very history.
Just at this very moment, it was a person (as for me, it sounds a little awkward), even if it is not with appearance, but the idea of ​​the outlines of the exclusive for the jerney curling.

However, after some time, the differences and in this case became no less noticeable than in the case of Limbo, and their essence was already in the presentation of history and its further perception.
All salt is that Jorney looks and is perceived as a contemplative, philosophical parable. Naturally, this parable is appropriately submitted – through a laconic, not without symbolism, a narrative, visually creating the impression of a kind of dream, sleep or even a fairy tale. At the same time, The Mooseman is a sacred experience saturated with primitive beliefs, the atmosphere of which is kept on attractive pagan mysticism. And if Jorney is a dream, then it is a trance that man (no matter how ambiguously sounds).
Such differences in the ideologically similar stories are determined to a certain extent due to the fiction of the artistic component. A parable born of a creative genius of developers from Thatgamecompany, clearly contrasts with leaving roots for centuries The Mooseman.

It is natural to compare the visual component of the aforementioned games does not make any sense. Yes, we can say that the animation in The Mooseman could be more sympathetic, and the drawing is more seized. But, mentioning the appearance in the aforementioned game, it should be noted that in the context of the general idea, it does not cause both serious questions and strict complaints. First of all, it was a man who is an illustration of folk art and some details that are not inherent in the traditions of the Finno-Ugric peoples, albeit designed to make a picture more pleasant to the eye, would hardly harmoniously fit into the spirit of the narrative.

* * * Speaking about the artistic “filling” of the game, I would compare The Mooseman also with Never Alone (if we take into account the description of the latter), but I myself have not reached it yet, and therefore I can only assume a possible similarity. In a nutshell, Never Alone is a platformer-head at the basis of which are the traditions of the Inopiatians-the people of the Far North living in Alaska (which, it seems, in addition to their native and English, also speak Russian), and we have to play for the girl and the fox.

By the way (entertaining, or not, a retreat, having a slight attitude to the game, but curious if you like mythology)