Recently, while stuck at home with the new FLiRT variant of COVID-19, I paid tribute to that ridiculous name. Love Island united states of americaI watch a bit of reality TV, especially when I’m sick. A season is 36 hours of mind-blowing entertainment that requires no brain cells. This was my first time watching the show, and one of the most memorable scenes was when the contestants were huddled around their phones, glued to a compilation of their boyfriends with other women. You could hear them crying about being betrayed.
As television shows go, it’s a prime moment of voyeuristic entertainment — combining a head-on action with consequences, a real-time reaction to the taboo of infidelity, a moment usually reserved for private moments between partners. It’s also a highly subtle tactic on the producers’ part, one that feels like psychological torture. this It’s a good reality show.
When Neriall announced Crash Houseis a video game based on reality TV that appears to be a fun and goofy take on a genre that not many people take seriously. Players take on the role of a producer named Jay who is just starting to produce the biggest reality TV show of 1999. For each new season, Jay aims to select four cast members and capture them as they bicker, flirt, and scheming to stay in the spotlight.
But just like the harsh reality of reality TV, Crash House Reality TV is far more sinister than its colorful, cupcake aesthetic might suggest. If reality TV is a contract between the contestants and the audience (those who crave fame at all costs and those willing to give it to them in a mob-ruling fashion), is the relationship really symbiotic, or is it something more sinister? Whether the reality TV stars want it or not, the audience benefits.
At first, Crash HouseThe goal is simple: get enough viewership to avoid cancellation and keep the show on the air Monday through Saturday.
It sounds easy, but it’s not. The difficulty increases rapidly as players have to deal with a new audience every day, from fans craving drama and wholesome moments to those who just want to see lighthouses and feet. With each new season, it becomes harder to top the previous one than the previous one, due to the growing audience demands and pressure from the network. These pressures are conveyed in-game through faceless bosses via walkie-talkies. The only way to succeed is to cleverly use the camera and find a way to fulfill multiple demands in one frame before the day is over. By placing ads during the show, you can earn cash to buy useful props. Props can be anything from a statue that everyone lusts after to kiss, to a saxophone that a certain character plays.
Of course, there’s plenty of drama among the cast, too. They all want their impact to be felt. They all have different demands for Jay. Some want the best angles for the most dramatic moments, more airtime, while others want a chance to showcase their musical talents. Meeting these demands is crucial to driving the storyline behind the show. Crash House A dramatic mystery that takes place off-camera and would fit perfectly into the dystopian setting of modern reality TV.
The mix-and-match aspect of the casting, and the game’s procedurally generated dialogue, work well to keep the season feeling unpredictable. However, some characters have such strong personalities that the casting could have been planned for maximum drama. Ayo, the sassy personal trainer, was always the bomb for me to throw into the house and start a fight, while Emile, the French Casanova, certainly captured the hearts of audiences and housemates alike.
While the game does offer a mode that lets you play through the story without fear of ratings failure, it’s best experienced without those guardrails. Figuring out how to keep six audience members happy while avoiding getting footage of anyone’s butt, for example, becomes a slapstick comedy of bouncing the camera around while chasing characters to get a Dutch-style angle shot of a fight breaking out in front of the garden lighthouse. You also occasionally linger on someone’s bum for too long, spinning the camera towards the sky.
Crash House It’s a frantic game of sprinting, every minute counts. It’s as frantic as downing a beer shotgun. It’s silly and absurd, but at the same time, it’s serious.
