![]() A bit like that other text-heavy RPG with a set protagonist. The scope is narrower but more focused, intimate, intense. It’s one of the instances where Disco Elysium’s PC-centric pen-and-paper origins shine through and affect the standard cRPG conventions. Since one obviously cannot construct effective personal drama for all possible player avatars (the only guaranteed common trait being player agency), the authors made the furies torment our hero through his prior life. After all, the game’s original title used to be No Truce With The Furies, and that alone illustrates pretty well how important it must have been for the authors to have a singular ruined soul at the epicenter of the narrative. While it may seem somewhat restrictive to disallow self-insertion in a cRPG, it helps the story to focus on the inner turmoil of our character as much as on the people and events that surround him. That somebody has a name, a face (sort of), a semblance of life, and a long history of destructive self-abuse, all of which slowly resurface during the course of the game. Instead of giving us the usual freedom to become a soon-heroic, god-chosen nobody, Disco Elysium puts the player in the tear-and-alcohol-soaked shoes of a particular *somebody*.
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