This post got much longer than I anticipated. It’s probably the result of none of my friends having played KRZ yet, so I haven’t been able to discuss it with anyone.Despite it being accurate, since KRZ is a game where you're almost always on the road in some way, the 'journey of life' metaphor is a bit too general. You could describe most stories in this way. The truth is, it might well be impossible to point out the overarching meaning of the game until Act 5 closes its curtains.With that in mind, there are definitely a few stories that are fleshed out well enough that they can be discussed.Disclaimer: I'm going off memory and Wikipedia, and I only played through Act 2 once, so bear with me.First, the Elkhorn Mines from Act 1. The company who owned the mines, Consolidated Power, started paying the people with coal tokens, rather than real money. They could spend the tokens on things that should help them survive in the mine, like canaries to text the toxicity of the air and even fresh air itself. But outside of the mine, who would accept coal tokens as currency?

This more or less trapped the miners inside Elkhorn long before it became their watery tomb.It's worth noting that the items used to orient yourself within the mine, like the Pendulum and the Scarecrow, are each also used to orient yourself (along with plenty of other things) on the Zero. They're likely going to be significant, but it's hard to say what that significance may be right now. Similarly, Weaver's archivist parents seem to have some significance that I have yet to figure out.

I don't really get that exact sentiment, but I do think there is something deeply special about Kentucky Route Zero that pulls at certain emotions and thoughts very little other media has for me. KRZ brought to mind the feeling and thoughts I had over a summer in my early 20's, feeling pretty lost, working terrible jobs in my hometown of. Kentucky Route Zero is a game in five acts, which we've been developing and publishing episodically for several years. It is available for Windows, Linux, and MacOS as 'Kentucky Route Zero: PC Edition' and, in partnership with Annapurna Interactive, for Nintendo Switch, PlayStation, and Xbox One as 'Kentucky Route Zero: TV Edition.' These two editions are the same aside from the platforms they.

It may just be that they were good people that were trying to make the miners' lives better, and even helped to immortalize them a little through their recordings.Second, the Bureau of Reclaimed Spaces and the storage facility in Act 2. The Bureau seized the cathedral and converted it into office space.

They gave them an old storage facility as payment, but didn't seem to understand that this was inadequate for their needs. A place of worship needs to be a warm, welcoming place so that the congregation will want to come back.

With that in mind, it's not surprising when Conway, Shannon and Blue (or whatever your preference) find the place, and the only person there is a janitor who explains that the congregation soon abandoned the place, and the only thing left is a recording of the preacher. In Kentucky Route Zero, the coldness of bureacracy guts out the insides and even the soul of a place and throws it into an abandoned toilet on the side of a road. But hey, at least they kept the organ!(Note the recurring motif of recordings being the only physical thing left behind. Or maybe recordings in general, especially with the next topic in mind.)Third, the Museum of Inhabited Spaces. The entire scene plays in a recording, with all of your dialogue choices actually happening in the future until you talk to Ezra. Also, the museum literally showcases present day living spaces, complete with people living in them. They are seen as a part of the museum, but not as living, breathing people with lives much the same as everyone else.

At night, Julian the giant eagle (seems like an on the nose representation of the U.S. Government, but I don't mind) 'helpfully' moves everyone deep into The Forest every day, and moves them back in the day (at least, I think. I need to play Act 2 again). Why move them back and forth? Why make a museum about things that still exist?

Maybe because they won't exist for much longer. The game's creators say in almost every interview that the game is a tragedy, after all.Lastly, maybe there’s a clue to how this all ends up hidden in Act 1. If you find the Museum, which is southwest of the swamp, north of Equus Oils and just west of the Marquez farmhouse. After discovering it, if you return to Joseph, he’ll mention some of his work is stored there. It’s a videogame called “If I had My Way, I’d Tear the Building Down.” It’s about a tragic love polygon that can’t be defined as only a triangle, but what I’m really getting at is the name.Kentucky Route Zero does not value structures, physical or otherwise, without there being a human element embedded into it. Structures tend to impede this, existing for purely logical reasons that can displace the less fortunate because it’s cost-effective.

Whether or not the Joseph Wheatree’s game is about it, he certainly seems to be a member of that less fortunate class. Maybe it will be answered later on, but I’d like to think he wrote it after he finished the game and had a chance to reflect on it. In a fit of rage, he wrote “If I had My Way, I’d Tear the Building Down.”Well, that was a lot of writing.

If you got this far, thank you. Originally posted by:This post got much longer than I anticipated. It’s probably the result of none of my friends having played KRZ yet, so I haven’t been able to discuss it with anyone.Despite it being accurate, since KRZ is a game where you're almost always on the road in some way, the 'journey of life' metaphor is a bit too general. You could describe most stories in this way. The truth is, it might well be impossible to point out the overarching meaning of the game until Act 5 closes its curtains.With that in mind, there are definitely a few stories that are fleshed out well enough that they can be discussed.Disclaimer: I'm going off memory and Wikipedia, and I only played through Act 2 once, so bear with me.First, the Elkhorn Mines from Act 1. The company who owned the mines, Consolidated Power, started paying the people with coal tokens, rather than real money.

They could spend the tokens on things that should help them survive in the mine, like canaries to text the toxicity of the air and even fresh air itself. But outside of the mine, who would accept coal tokens as currency?

This more or less trapped the miners inside Elkhorn long before it became their watery tomb.It's worth noting that the items used to orient yourself within the mine, like the Pendulum and the Scarecrow, are each also used to orient yourself (along with plenty of other things) on the Zero. They're likely going to be significant, but it's hard to say what that significance may be right now. Similarly, Weaver's archivist parents seem to have some significance that I have yet to figure out. It may just be that they were good people that were trying to make the miners' lives better, and even helped to immortalize them a little through their recordings.Second, the Bureau of Reclaimed Spaces and the storage facility in Act 2. The Bureau seized the cathedral and converted it into office space. They gave them an old storage facility as payment, but didn't seem to understand that this was inadequate for their needs. A place of worship needs to be a warm, welcoming place so that the congregation will want to come back.

With that in mind, it's not surprising when Conway, Shannon and Blue (or whatever your preference) find the place, and the only person there is a janitor who explains that the congregation soon abandoned the place, and the only thing left is a recording of the preacher. In Kentucky Route Zero, the coldness of bureacracy guts out the insides and even the soul of a place and throws it into an abandoned toilet on the side of a road. But hey, at least they kept the organ!(Note the recurring motif of recordings being the only physical thing left behind. Or maybe recordings in general, especially with the next topic in mind.)Third, the Museum of Inhabited Spaces.

The entire scene plays in a recording, with all of your dialogue choices actually happening in the future until you talk to Ezra. Also, the museum literally showcases present day living spaces, complete with people living in them. They are seen as a part of the museum, but not as living, breathing people with lives much the same as everyone else. At night, Julian the giant eagle (seems like an on the nose representation of the U.S.

Government, but I don't mind) 'helpfully' moves everyone deep into The Forest every day, and moves them back in the day (at least, I think. I need to play Act 2 again). Why move them back and forth?

Why make a museum about things that still exist? Maybe because they won't exist for much longer. The game's creators say in almost every interview that the game is a tragedy, after all.Lastly, maybe there’s a clue to how this all ends up hidden in Act 1. If you find the Museum, which is southwest of the swamp, north of Equus Oils and just west of the Marquez farmhouse. After discovering it, if you return to Joseph, he’ll mention some of his work is stored there.

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It’s a videogame called “If I had My Way, I’d Tear the Building Down.” It’s about a tragic love polygon that can’t be defined as only a triangle, but what I’m really getting at is the name.Kentucky Route Zero does not value structures, physical or otherwise, without there being a human element embedded into it. Structures tend to impede this, existing for purely logical reasons that can displace the less fortunate because it’s cost-effective. Whether or not the Joseph Wheatree’s game is about it, he certainly seems to be a member of that less fortunate class. Maybe it will be answered later on, but I’d like to think he wrote it after he finished the game and had a chance to reflect on it. In a fit of rage, he wrote “If I had My Way, I’d Tear the Building Down.”Well, that was a lot of writing. If you got this far, thank you.I just wanted to say that i enjoyed this analysis alot even though i have only played each act once.

And i also hoped that you could perhaps clear up a thing in the beggining of the second act. When talking with the receptionist at the Bureau of Reclaimed Spaces she points you the drive to the crystal and then go back. And also where are you actually driving? Is this where they came when entering the tunnel seen in the ending of act 1? Is the tunnel in the second act perhaps the zero? What do you think? Also why isn't there a forum where i can discuss this game!

It drives me a bit crazy. Seems like a strongly existentialist, albeit realistic, viewing of life and death. Conway gets 'worse' in his condition throughout, and I think eventually, his death will come next. This purgatorial landscape is almost like. Well, purgatory. The religious overtones emphasize this too, though said religious tones are more about capturing Kentuckean culture than suggesting religion itself.

It's all a metaphor for something every human being has or will feel at some point in their lives regardless of everything; loneliness and a sense of feeling lost on an endless highway. It's a timeless feeling, hence the anachronicities present in the Acts; Conway and his truck appear from another era, whilst plenty of more modern tech exist.From an actual Kentuckean. Also, if you pick up the 'places to see on the zero' that's in the envelope at the lobby at the bureau, a lot of the directions seem to link the objects in the zero in ways that seem to refer to characters/ backstory. I have my guesses, but I don't have the destinations written down, and I think that might be significant too. (and as for the link between the zero and the mine. Deja vu)It's worth exploring when you get back to regular Kentucky in act II. I've seen one event which, even if it isn't significant story-wise, was pretty cool.

I just finished the game, and I'd like to add some things I noticed: the actual visuals of the Zero reminded me of voice recordings. Like they found in the mine. Also, you navigated with strange landmarks, which Shannon points out in the mine is what the workers used to do with the junk the company left for them. I'm not sure what to make of the connection just yet (as I'm hoping this is more than a 'he's hallucinating while hurt/dying' explanation) but thinking as if this was a supernatural mine made the driving/getting lost/finding random things feel more.

Maybe it's just me =P. By Act 3 and its precursor The Entertainment, the idea of 'debt' has moved up to become the central notion of the series. I find it interesting how the game has a direct visual representation of debt, whereas most other things do not enjoy such correlation - by this I refer to the whisky-colored skeleton that we glimpse first with Conway's leg and then the place where Strangers come from. Conway's leg, representing an unknown but doubtlessly sizable financial burden, has now become an alien part of Conway ('That's not my leg.' ), to be kept fed and constantly appeased.With the Strangers the alienation becomes total: They are entirely skeletal, hollowed. Alienated from the work they are doing, alienated from their very selves, only coming to our attention ever briefly with meticulous use of the magnifier that is the degausser.

When they do come to our attention we learn of them only through small snippets of text, of the people they once were but no longer are, reduced to wireframe skulls, having abandoned all creativity, all idea, only existing to appease the adding machine. This is again in contrast to earlier in the act where Conway and co. Pick up passersby from the world map to drop off. Those three people do not exist visually, remain as abruptly ending texts, but they still possess some semblance of self, some color, some notion of a better future.Also significant when viewed in this light is the introduction of the two (supposed) androids, Junebug and Johnny. Being non-human, they - well, mostly Junebug - display consistent divergence from the thoughts and notions that threaten to weigh down the rest of the group - consider Donald's question of having had something fall part and contrast Junebug's answer - 'Not really.'

- to those of the rest.I don't currently understand why it is specifically Hard Times and the 'Hard Times boys' that drive all apparent debt, nor why Conway suddenly gave up and succumbed again to Drink. I suspect that, with the relatively sudden departure of 'the three artists' (Joseph, Lula, and Donald) from the series - or at least that's how it felt like to me - the next two acts will explore this with greater freedom from their shadow. Originally posted by:I don't currently understand why it is specifically Hard Times and the 'Hard Times boys' that drive all apparent debt, nor why Conway suddenly gave up and succumbed again to Drink.It’s reasonably certain that “Hard Times Boys” specialize in trading debt for the very people who cannot pay those debts. Apparently individuals who directly owe Hard Times can absolve their debt by turning in those who, in turn, owe them.Massive social commentary?Conway’s role is not yet entirely clear, but I think it's grounds for wonderfully unbridled speculation! So I've been playing Act I and II back to back a couple months ago and just picked up and finished III today. Then I replayed Act I, and was amazed to see all of those random things that didn't seem to have any relevance at the time be references to future acts!The very first line of conversation in the game is about a truck spilling whisky bottles, probably a reference to the guy from the whisky factory in act 3.

The first mail on Joseph's Computer is from Donald, talking about Xanadu and their whole project. As you regard Joseph about the people playing in the basement, he says 'Well, strange things happen underground, especially in the dark.' Quite the sentence if you know about his past via Xanadu. There is a museum with a book you can find in act I, if you look at the book, it says there's an ink drawing of a horse, then a bunch of blank pages and at the end of the book there's an elaborate ink drawing of a one-legged man working an antique adding machine, surrounded by whisky bottles.I wonder how much more of this is scattered throughout the game. Replay value ahoy! Did anyone else make the link between the distillery guide and the writer of the play in The Entertainment?Also that weird button that is found on xanadu but is also there in the distillery and makes the strangers appear more brightly and gives some of them names when you press it. Is it insinuating that everything is actually being run by a present day xanadu or something?Fantastic game / experience.

Seriously up there with playing mario64 for the first time in my list of great gaming moments. Personally do not care how long the other chapters take the devs as long as they can realise everything they want to.