This year I’m selecting twelve Pygmalion stories—or stories that contain echoes of the Pygmalion myth—and essaying on them. I already have a few in mind, but please feel free to suggest others in the comments or on twitter @molly_the_tanz.
Many people suggested the subject of this month’s column, either in the comments here at Pornokitsch, or on Facebook/Twitter, so here we go with this column’s first video game! Or at least, text-based adventure.
Galatea, by Emily Short, is an award-winning text-based adventure, or interactive fiction game. Praised for its NPC, the eponymous Galatea, it apparently revolutionized the genre of interactive fiction games due to of the depth and complexity of Galatea’s responses to the player. Not only that, but the game is multilinear, meaning you can take multiple paths to the same endings, having a different experience each time, creating your own story within the framework of the game.
On its surface, Galatea seems simple enough: you are a famous art critic at a gallery opening, and you discover the statue of Galatea on a pedestal. But Galatea is more than a statue; she is an “animate,” which you may or may not get explained in more detail, while you play the game. The game is then to talk to her, to solicit responses, and respond in turn to have a conversation with this strange creature. Once you start, however, you may find it's more challenging than it might sound...
The first thing Galatea says to you is, “They told me you were coming.” From there, you can speak to her by “asking” about topics. You can “look,” you can “touch” and do other physical actions like “embrace” or “smell” Galatea; you can “tell” her things, and apologize if you annoy her.
The game is… unsettling. Galatea is wise but naïve, direct but oblique, as confusing to speak to as you might imagine a living, sentient statue would be. She has what appears to be a rich inner life. It is very strange.