Vile n’est pas un jeu conçu pour être amusant. Bien qu’il suscite la curiosité, il vise à interroger des thèmes d’obsession et d’entitlement masculin envers les femmes. Son créatrice, Cara Cadaver, le considère comme un projet personnel et thérapeutique. Les joueurs plongent dans une relation parasociale troublante, incarnant le « méchant » de l’histoire. L’importance de ce jeu réside dans son message, malgré les réactions parfois misogynes auxquelles Cadaver a dû faire face. Une version Director’s Cut de Vile est prévue pour Steam.
Vile is not created for mere entertainment. While players may find themselves intrigued as they explore a retro 90s desktop and uncover hidden secrets, the game’s developer, Cara Cadaver, emphasizes that her primary intention is not to amuse. Instead, Vile delves into themes of obsession and male entitlement towards women, aiming to confront, educate, and heal its players—an undertaking that is profoundly meaningful to Cadaver.
« I’m incredibly thankful for the positive response to Vile, » Cadaver remarks, reflecting on the recognition her short horror game on itch.io has received recently. « But it does feel a bit like someone is reading my diary. It’s a very personal project, which was intentional. Those who have reached out to me seem to really understand it. I worried it might be misinterpreted because of some of its content, so I’m relieved the core message is resonating. »
The game addresses sensitive issues related to stalking and implied violence against women.
Prepare Yourself
darkwebSTREAMER serves as a ‘narrative roguelike’ that examines our collective fascination with voyeuristic horror.
Its narrative revolves around sadism, violence, and imminent peril, centering on Candy Corpse, a retired adult film star, who becomes the target of a dangerously obsessive fan. Players navigate through email exchanges, video clips, audio recordings, and various password-protected documents, exposing themselves to the sinister realities of a parasocial relationship that escalates to active stalking.
Vile is such a profound and cathartic experience for Cadaver that she initially hadn’t planned for it to reach a wider audience. « It started as a personal project—more just a prototype that I never intended to show the world, » she explains regarding how her school assignment transformed into a full game release. Cadaver’s experiences as a woman in game development heavily influence her work; this perspective is integral to Final Girl Games, her studio’s name—which plays on the famed trope of the final female survivor confronting her oppressor.
Cadaver’s artistic style is grounded in authenticity and truth, avoiding sensationalism or shock tactics. « Given the subject matter, it often flows naturally for me. I don’t know if that’s a positive or negative trait, but because I’ve lived through certain experiences, I can convey those narratives in a less dramatic way, reflecting the actual terror involved. It’s important to recognize that you don’t need to embellish these stories; they’re already chilling enough on their own. »
For Cadaver, developing Vile was a « truly therapeutic » process, allowing her to weave her own traumatic experiences into the game’s fabric. « I didn’t consider a specific audience while creating it. I was more focused on those who might share similar feelings or experiences, » she reveals.
Despite being a deeply personal artistic expression aimed at survivors, Cadaver also realizes that her game reaches a broader demographic. « It’s interesting that many men have engaged with it and shared their thoughts, » she notes, referring to the popularity of Vile on platforms like YouTube and Twitch. « I was somewhat anxious about how it would be perceived, but it’s been rewarding to see the engagement from people unfamiliar to me, hearing them reflect on their thoughts while playing. »
Vile casts players in the unsettling position of embodying the antagonist. It’s the fan’s computer we sift through, revealing his vile intentions towards Candy. Managing this psychological space isn’t something Cadaver takes lightly: « At certain points, it was quite challenging. I won’t lie. It drained a lot from me; I had to take breaks occasionally. However, I felt a strong drive, particularly during the final stages of development. » Throughout the process, Cadaver focused on a key question: « The best advice I received in game development was to prioritize how you want players to feel. I always aim to evoke discomfort. »
Unnecessary Challenges
Unfortunately, some audiences miss the central message entirely. As a woman in horror game development, Cadaver’s experiences—mostly positive—still expose her to instances of damaging misogyny.
These frustrating stereotypes are