What Wet wants to do is to try and become a cult classic in the vein of movies like Faster, Pussycat! Kill! Kill! or Barbarella, but the nature of videogame taste and reception renders such objectives impractical. The cult status of venerated grindhouse films, B-movies, and midnight movies relies on the establishment of good taste. In cinema, such marginalized “trashy” movies achieve cult status as countercultural alternatives to serious-minded high art, offering subversions of the mainstream status quo. Movies like Pink Flamingoes, The Rocky Horror Picture Show, and Eraserhead weren’t initially reputable enough to garner regular matinée releases, and their infamous status as cult classics came about only through reexaminations of camp style and mainstream tastes. With videogames, everything is marginalized and trashy, and any distinctions between high and low art are essentially non-existent. What we consider the best storylines in games are usually mired in trashy genre formulae: the zombie film-esque machinations of The Last of Us or the cyborg-mech soap opera of the Metal Gear Solid series. Rarely do games offer straightforward, serious-minded human drama without first filtering its story, themes, and style through typically male-oriented genres, and consequently, the status quo of games is itself lowbrow. Videogames aren’t transgressive because there’s nothing to transgress; everything is trash.
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