She lost so much to this mountain, so she needs it even more to prove that it wasn't all in vain." Hanging alone in the air on the rock wall, rock climber Eva received a communication from the companion robot. Yamshita's friend Naomi sadly announced that the cat they raised was seriously ill and died. Facing the questioning and sadness on the other end of the conversation, Eva roared in the mountain wind, disconnected the antenna and threw it into the sky, turned and continued to grab the next rock point. This is a controversial scene in the French rock climbing simulation game Gilead. The work reproduces the physical actions and allocation of the material of the type. The indifferent character of the hero and his refusal to speak drew criticism from many players. The character's paranoia is not a design oversight, but the fulcrum of the entire narrative. Eva sees herself as a lone heroine who pursues "absolute freedom", but this freedom does not come out of nowhere. The care work and emotional support of her partner at the foot of the mountain always took the burden of life on her. Cultural theorist Lauren Berlant once described this type of attachment as "brutal optimism": when external reality is hard to control, the visible progress on the rock wall becomes the only point of reference for affirming self-worth. The "absolute freedom" that winning the climb to the top comes at the price of complete erasure from real life; The cracks and problems of life at the bottom of the mountain still have nowhere to go. Click on the link to read the full text.

She lost so much to this mountain, so she needs it even more to prove that it wasn't all in vain." Hanging alone in the air on the rock wall, rock climber Eva received a communication from the companion robot. Yamshita's friend Naomi sadly announced that the cat they raised was seriously ill and died. Facing the questioning and sadness on the other end of the conversation, Eva roared in the mountain wind, disconnected the antenna and threw it into the sky, turned and continued to grab the next rock point. This is a controversial scene in the French rock climbing simulation game Gilead. The work reproduces the physical actions and allocation of the material of the type. The indifferent character of the hero and his refusal to speak drew criticism from many players. The character's paranoia is not a design oversight, but the fulcrum of the entire narrative. Eva sees herself as a lone heroine who pursues "absolute freedom", but this freedom does not come out of nowhere. The care work and emotional support of her partner at the foot of the mountain always took the burden of life on her. Cultural theorist Lauren Berlant once described this type of attachment as "brutal optimism": when external reality is hard to control, the visible progress on the rock wall becomes the only point of reference for affirming self-worth. The "absolute freedom" that winning the climb to the top comes at the price of complete erasure from real life; The cracks and problems of life at the bottom of the mountain still have nowhere to go. Click on the link to read the full text.