Iconic Dripping Animal

ARGs, or alternate reality games, were a natural outgrowth of creepypasta (as the great Jenny Nicholson once put it, "campfire stories on a global scale"). With creepypasta, people, usually young people, would hop onto the internet and tell a spooky story about a haunted Sonic cartridge with realistic blood or a super evil serial killer who was never caught or Slenderman or something.

Due to the memetic nature of these stories, though, there became an arms race to make them on increasingly elaborate scales. Soon, people were ROMhacking their favorite old games to actually show the spooky haunted realistic blood. A famous example, Ben Drowned, showed modded/corrupted Majora's Mask footage that was generally effective because Majora's Mask is already sort of a creepy game.

Ben Drowned was also notable for being a story that was continually updated. Originally, most creepypasta would be a single story, usually short, posted once. This is an effective medium for horror, which loses effectiveness the more things get explained, but at the same time, when people like something, they want more.

Okay, so how do you make an ongoing horror series that doesn't outright explain everything, and thus retains its horror aspect? The answer, seemingly independently reached by a wide variety of indie horror creators at the same time (Ben Drowned, Marble Hornets, and the godfather Five Nights at Freddy's) was arcane hidden lore.

That's basically what separates an ARG from creepypasta: the "game" in "alternate reality game" is that sprinkled throughout a series of videos are scraps of hints toward a broader narrative, and the viewer is expected to locate those hints, piece them together, and figure out what's actually happening.

The logic is similar to the appeal of a mystery novel, so it's no wonder this took off. Channels like Game Theory posting lore breakdowns of FNAF or other popular series raked in beaucoup views. Indie horror devs would start putting dumbass lore hints in their goofball games to piggyback off FNAF's memetic success. Pathetic things like this happened:

But ARGs are fundamentally different from a mystery novel. In a mystery novel, the terms of the mystery are overtly made known. Someone has been murdered and a world famous detective has arrived to find out who did it/how they did it. By contrast, ARGs are often abstracted to the point that it is difficult to know whether there actually is a mystery. And besides, the mystery in an ARG isn't "who is the killer," it's "what is even the plot?"

Heavily abstracted, often fragmented storylines, with no clear plot, disjointed organization, and only scattered ambiguously meaningful moments that could be arranged in any number of ways to attempt coherence. What does this remind me of?

They reinvented postmodernism!

This realization came home when Skinamarink received a theatrical release in 2022. Skinamarink was an analog horror (another offshoot branch of creepypasta/ARGs) video blown up to cinema length, created by an analog horror YouTuber based on an original 20 minute video they made. Mainstream critics who saw this film, being completely unaware of what analog horror was, extolled the film for its Lynchian, Kubrickian influences. They were unaware its actual greatest influence was Mandela Catalogue. They were unaware that a thrillingly unique, abstract form of storytelling had organically been created by a group of outsider artists on the internet.

Kubrick would be proud.

I find this especially exciting in a mainstream pop cultural milieu that is trending toward, at least in my appraisal, increasing obviousness and simplicity in how it communicates ideas, which is not only boring but also annihilates the capacity for nuance, interpretation, and even meaning itself.

This also comes alongside ARG creators often pushing themselves to new technical extremes, extremes that are absurdly impressive for individuals. Kane Pixels has created amazing found footage videos using Blender-made labyrinths. The Mandela Catalogue guy was doing some crazy shit with puppets(?) last I checked. And, of course, the act of modding old games has evolved into the act of creating whole video games entirely as a vehicle for an ARG. The first example of this I know of is Petscop, and there have been others like Catastrophe Crow (which splices in an extremely accurate pastiche of a retro gaming video essayist, plus period-accurate game magazine articles), but Valle Verde takes it to a new level.

Since you've all seen Valle Verde by now, I won't waste time explaining the seriously impressive stuff it pulls off.

Instead, I'll let the other shoe drop.

I have a fundamental problem with all these ARGs, one that pains me all the more because I am so thrilled by so many aspects of them. The problem is that once you dig into them, once you piece together the underlying narrative from all the tiny clues, interpret the ambiguities, and see the broader picture -

The picture sort of sucks.

Ben Drowned, FNAF, Petscop, Catastrophe Crow boil down to the same residual dew: Children died. (Either murdered or just tragically.) Their spirits haunt the game cartridge/animatronics. All the scant hints point to the cause. (Ben Drowned spoils it in the title.) It's not only sort of banal but also the story that you could probably guess at without reading into the deep lore, just from the story's general vibe.

It's a fundamentally boring answer to a fascinating puzzle, and worse, it reveals that there was no true value in the puzzle being presented as it was. The abstraction and postmodern technique of the narrative contribute nothing to its overall meaning. They exist with the sole aim to obfuscate, because horror only works when unexplained. Rather than leave the horror unexplained, though, the way Kubrick would in The Shining (which deliberately strips out overt explanations that exist in the book it adapts), or Lynch would in anything, these works are attempting to have their cake and eat it: there's stupid lore that explains everything, but it's just a little hard to find. In that sense, rather than being a rejection of the current cultural milieu toward works that make simple sense, this trend seems more like an attempt to reinject that milieu into one of the few genres of storytelling that had effectively rejected it. (It reads similarly to all the Babadook-inspired indie horror films of the past decade where the monster is some transparent allegory for grief or trauma or something.)

So what's the story of Valle Verde?

I won't go into a Game Theory breakdown of every symbol and detail. As far as I can tell, this is what's going on:

Valle Verde, the fiction within the fiction, is a Japanese video game developed with experimental technology called THBrain that gives it a sophisticated and advanced artificial intelligence capable of making on-the-fly alterations to the game's script. Valle Verde, the series of videos, depicts an investigation into certain malfunctioning elements of the game prior to its release. The player character, self-identified as TEST05, is actually played by two "agents" (of what agency is unclear) named Pablo and Robert testing the game and chronicling anomalous behavior.

The series of glitches and other bizarre things they record seems to depict a theological battle between Valle Verde's freemasonic villagers, led by Foxxo (remember that the next elections), and the Catholic Church, led by Pietro (possibly an avatar for St. Peter, the first pope and guardian of the gates of heaven).

Joseph of Cupertino is the patron saint of aviation. It's a "time flies" pun.

It's unclear how much autonomy either of these factions have, even knowing that there is apparently a super-sophisticated AI capable of injecting novel information. Pietro at times breaks the fourth wall and addresses Pablo directly by name; the villagers don't break the fourth wall, but do all sorts of stuff that is described by the tapes as anomalous. The AI seems like the obvious culprit, but in Valle Verde 2, Pablo actually meets the AI, who claims to have sequestered themselves from the rest of the game because they didn't want to partake in the villagers' rituals, and who has even disabled all their language libraries except Spanish to avoid comprehending the screams of the children trapped inside the game.

Oh yeah. Children are dying.

The THBrain seems to not only enable incredible AI, but is a way to upload humans into the video game (maybe this is unrelated to THBrain? I'm fuzzy on that point). Several children have already been uploaded and are presumed dead; currently, an Argentinian child named Matias is trapped in the game. Matias is the only other character besides Pietro capable of breaking the fourth wall, due to being a real person; he is aware of Pablo as an "agent" and suggests at some sort of conspiracy outside the game, which has not been explicated in much detail in the available videos.

The reason the children are dying is eventually revealed: the freemasonic villagers are sacrificing them to their false god, Moloch.

I'm not kidding about the freemasonry. Note the Argentinian flag.

There are other plot elements that are a bit murkier; Valle Verde seems to be a nexus of several unrelated video games, which can be accessed through an in-game library, and it is within this nexus that Moloch lives, and perhaps where the underlying purpose behind the villagers' actions lurk. There is also a recurring motif of a coming Christian apocalypse, likened to Noah's flood. After the freemasonic sacrifice, a doomsday clock ticks closer to midnight. Are the masons unwittingly provoking God's wrath? The series is framed as footage from 1997 that was unearthed in the modern day, so was this apocalypse averted, or did the apocalypse simply exist within the game, with no bearing on reality? The series remains ongoing; future installments may clarify.

But the underlying issue remains that, for me at least, the basic conflict in its simplicity and lack of ambiguity seems inadequately matched to the unique, impressive, and open-ended presentation. It retroactively makes me wonder what the point is of telling the story the way Valle Verde is told, if its story is in essence the Church versus Satan-worshippers, with clear moral and ideological lines drawn. Doesn't a more conventional narrative make sense for this sort of story?

There's a scene early on when the player character traverses a series of rooms corresponding to the Seven Deadly Sins. The sin of greed is depicted, not simply with stacks of gold, but with works of modern art:

As the player proceeds through the room, they discover a dumpster where Renaissance artwork by Titian and Michelangelo is trashed:

The message here is almost fatuous. It's also deeply ironic. Valle Verde is a work that has far more in common, in terms of its formalistic technique, with Picasso than Titian. Is it a lack of self-awareness that puts this here? Or perhaps something else?

The novel Infinite Jest ends abruptly, with none of its plot points resolved. In this way it's similar to the titan of American postmodern literature, Gravity's Rainbow, which peters out without explaining the conspiracy that has driven its narrative. Infinite Jest plays a trick, though, as devious as it is facile. The final 200 pages of the book have been cut off and moved to the front. The story's beginning is a flash forward that, in its lack of context and confusing abstractions, is difficult to make sense of on first read. Upon rereading after finishing the book, though, it clearly contains the answers to all the unresolved plot threads.

If postmodernism could be described as an artistic period of uncertainty and obscured truth that was a response to the similarly uncertain Cold War era, where the inner machinations of governments may at any time cause the annihilation of the entire world, then what Infinite Jest did, published just a few years after the Cold War's end, could be seen as a reclamation of truth.

Truth itself is a concept deeply interwoven with Christianity. In Valle Verde, Pietro even calls it out with a green highlight to indicate its importance:

La Verdad sounds suspiciously similar to Valle Verde. Coincidence?

The context of this quote comes after the villagers destroy the church; Pietro reassures the player that La Verdad remains unchanging, and that this tribulation shall pass.

Might Valle Verde itself then be an Infinite Jest style reclamation, using the formalistic techniques of postmodernism that are so useful for obscuring truth to obscure what is, at its core, a simple and morally black-and-white tale of Christianity versus wicked idolatry?

There is a real-world allegorical undercurrent to Valle Verde that makes this reading even more appealing. Valle Verde's creator, Alluvium, is Argentinian, and the game is steeped in references to Argentinian history and politics.

That's a map of the Falkland Islands and a picture of former Argentine dictator Juan Peron.

At one point, when the villagers destroy the church (with the unwitting? help of the player character, who seems to have no moral interest in anything happening, and who only does whatever anyone asks him, whether it's Pietro or Foxxo), a highly overt reference is made to the death of Pope John Paul I, who reigned for only 33 days in the late 1970s before he died, officially, of a heart attack. The abruptness of his death, and the failure of the corrupt, Mafia- and freemason-connected Vatican Bank in the years that followed, have led to conspiracy theories that John Paul was actually murdered by freemasons within the Vatican so that they may continue to corrupt the Catholic Church.

Specifically, the conspiracy posits the assassination was done by the freemasonic branch P2, or Propaganda Due, an illegal fascistic secret society that contained many high-ranking members of Italian politics (including Silvio Berlusconi), whose goal was to act as a shadow government that could prevent the rise of communism within Italy. (P2 definitely existed; how much it actually influenced Italian politics is a matter of debate.)

Though primarily an Italian organization, P2 had several influential members from other countries, notably Argentina, where several politicians and military leaders at the highest levels were involved. As a nation, Argentina is something of a tragedy; at one point considered a rising economic powerhouse, its excellent geographic and demographic advantages were squandered by a long succession of corrupt leaders, including those involved in P2. It makes sense, then, why an Argentinian creator like Alluvium might be so interested in critiquing the evils of freemasonic corruption.

Valle Verde satirizes Argentina's leadership via Foxxo, not only through his freemasonic devil rituals, but also in more down-to-earth ways. In his introduction, Foxxo provides the player character 100 coins, telling him to "remember that the next elections" (Foxxo's catchphrase, despite him clearly stating he has been given absolute authority over the area by The Smiling One); moments later, when the player turns to leave, Foxxo mugs him from behind and puts him 99,999 coins in debt.

Through the use of masonic slogans like liberté, égalité, fraternité (which is written over what appears to be a portal to Hell) and masonic symbols such as the Statue of Liberty and Washington Monument, there's an undercurrent that expands this freemasonic secular/Satanic conspiracy beyond Argentinian politics and into the post-Enlightenment secular governments that have come to rule the so-called free world. "Progress is God," the freemasons state during their child sacrifice ritual. (Foxxo is joined in this scene by the village's museum curator, representing knowledge, and its scientist, representing progress.)

It's this kind of framing that makes me wonder about the previous scene depicting Picasso paintings as emblematic of the sin of Greed, compared to Renaissance paintings in the dumpster; is there a general theme here raging against modernity in all its forms, compared to a fundamentally good and absolute Christian religious truth? If so, it makes sense why Valle Verde is presented as it is, so abstractly; it shows a world rendered incomprehensible by modernity, but one that can be sifted and parsed to find incontrovertible religious salvation still shining underneath.

It is a rejection of "progress," using the formal techniques of "progress." In a milieu where the promises of the Enlightenment seem to have hit a dead end, where the freedom secularism once promised has given rise to corruption and abuses akin to those the Catholic Church of the Renaissance once inflicted, perhaps the sense of going back appeals.

The English literary world post-Infinite Jest itself also seems to have returned to the past; the works published today are realistic in style and scope, eschewing most formal techniques pioneered across the preceding century. Though I doubt that was David Foster Wallace's goal, it's what he created. Valle Verde, which is so explicit in its fundamental belief in Christianity, is probably far more deliberate in its rejection of the world as it currently exists.

Though there have always been voices calling for a return to the past, perhaps this is a mindset particularly enticing in the information age, when meaning seems so fragmented as to be ungraspable. Though Valle Verde is conscious of what it is doing formally in a way that, say, Ben Drowned is not, the inner simplicity of these ARG narratives obfuscated by abstraction strikes me as a collective yearning for clearly explicated, graspable truths in a world where such a thing seems increasingly impossible. Almost a fantasy: If only this incomprehensible eldritch horror could be explained by a 10-minute Game Theory video!

(The eldritch itself is a horror rooted in incomprehensibility. Making it explicable banishes it entirely, the way the protagonist of Valle Verde banishes a demon by holding aloft a crucifix. La Verdad triumphs. Couldn't our lives be so simple?)

Not every ARG is like this. Kane Pixels, another creator I would highlight for their exceptional technical talent and avant garde storytelling, has created far more nuanced and ambiguous narratives with works like The Oldest View, which deals with themes of nostalgia and memory without being resolvable into a simple pat sentence synopsis. Overall, I consider this entire collection of web original horror creators to be blessed with both the talent and mindset to create truly innovative works of fiction, even if many of them are outsider artists fumbling around just trying to scare someone; as outsiders, these confused anti-confusions of theme and meaning might be par for the course.