[massive spoilers ahead, but I’ll warn you before we get to them.]

I’ve been thinking a lot about the ending of Night in the Woods. Finished the game a couple weeks ago; it’s pretty much the only game I’ve managed time for other than 20-minute bursts of Nuclear Throne when I’m waiting for footage to render or just decompressing between obligations. I have a weird jumble of feelings about the game, many of them deeply appreciative and some… confused.

These capsule reviews aren’t meant to be any kind of consumer advocacy, but if you’re waiting for me to tell you whether or not you should play the game: yes. Whatever else I say, yes, you should go play Night in the Woods. You may not know what you think of it by the end, but if you’re the kind of person who reads my stuff, you aren’t going to regret playing it.

The game’s protagonist, Mae, seems exquisitely designed to remind a certain type of person of themself. I might be one of those people, or, at least, I was when I was Mae’s age. Mae is a 20-year-old college dropout living with her parents in her jerkwater hometown, unsure of what to do with herself and generally unwilling to talk about it. Her town’s economy is drying up and it’s a lingering question whether it will still exist in a decade or two. Everyone’s out of work or working for less than they deserve. Most of her friends from high school are still there, working the same jobs, playing in the same bands, eating the same crappy pizza.

It’s horribly familiar. When I was 20, I was piddling around community college with no motivation to transfer to a university. My dad had been laid off during the pre-Recession recession and hadn’t seen comparable pay since. I spent most of my time hanging out in coffee shops in my own jerkwater town, chatting up all the kids who’d never moved away, killing time. I worked my first job at the video store that was also a liquor store, around the corner from the hardware store that was also a deli. Our local businesses were also dying, save the few that secured a spot on Main Street, though by the time I was 20 my town was becoming a bedroom community for San Francisco and, instead of turning into vacant buildings, the local shops were getting muscled out by Peet’s Coffee and Jamba Juice. We even had our own parallel to NITW’s annual Harfest, but we called it Pumpkin Festival.

Admittedly, I was never a delinquent like Mae, and never managed to play in a band, even badly, so the sequences when I got to smash fluorescent lightbulbs and play bass were a kind of wish fulfillment (Mae’s bandmates sound for all the world like they’re covering Joy Division). And it’s moments like these that create the simple pleasures of Night in the Woods. It’s a game where stealing pretzels to feed to some rats you found in an abandoned parade float constitutes a major time sink and a minor, beautiful victory. Like, maybe I’m a fuckup but I can keep some rats alive and that’s not nothing. It’s a game where the conversation trees talk about the selling out of the working class, about punching fascists, about anarchy. It’s a game where the critical decisions you make are about who you want to hang out with on a given evening. (For the record: I agree that Gregg rulz ok but as soon as I realized that Bea didn’t like me very much I decided, oh no, I’m gonna make this girl my friend. So I saw pretty much none of Gregg’s or Angus’ optional content in my efforts to be best buds with Bea, and I regret nothing.)



So this game is something special. Play it. Let’s talk about the ending.

*SPOILER TOWN*

If I had sum up my overall impressions of Night in the Woods, I guess it’d be a more extreme version of my feelings on Oxenfree - somewhere over the course of the game I went from actively liking it very much to just kind of respecting it. Only more complicated than that.



OK, so Night in the Woods hints at a larger, darker plot from pretty early in the game, and such a thing was directly teased in the Kickstarter pitch, so by the time such things make their way into the game we’re all amply prepared for it. We’ve known all along that “there’s something in the woods.” I’m still not sure how to put into words my feelings on what that something is.

OK, OK, here goes: in the early stretches of the game, Mae has dreams that hint at what her mental state is up to, but as the game goes on, the dreams become more and more consistently about confronting giant animal gods. She also sees what appears to be a ghost man kidnap a kid at Harfest, but no one else sees this. Mae becomes convinced that there’s some kind of ghostly power that’s getting inside her head, while her friends worry that she’s cracking up. Still, they help her investigate various ghost stories around town, for her sake, and Mae’s health visibly declines and her dreams get more intense, until one night she finds herself communing with what may or may not be an utterly indifferent God who does not care about her or anything that lives on Earth.

Eventually, Mae and her friends track the ghost men into the woods and it turns out they’re not ghosts, they’re local men in hoods who are some kind of death cult. They believe they can keep the town from dying by kidnapping and sacrificing undesirables to the demon goat who lives deep beneath the old mines. They tell Mae that this is what’s been visiting her in her sleep.

So: Mae thinks she may be dealing with ghosts or God, the cultists think it’s a demon. Meanwhile, Mae’s friends think she may have some poorly-treated cognitive issues - turns out Mae had some kind of psychotic episode years back where she hospitalized a boy because she just couldn’t see other people as people anymore, and she’s been grappling with this disconnection for some time and going to college without good treatment may have made it all much worse. And maybe all this talk of careless gods and demon goats is just Mae dealing with the ugly parts of her own psyche.

Anyway, so Mae’s friends straight up shoot one of the cultists with a crossbow and then cause a mine cave-in that dooms the rest, which is, no matter how you slice it, a pretty sharp tonal shift from what most of the game has been. And, before escaping, Mae has a vision of sorts, where she feels herself sucked underground and once again confronting some kind of supernatural being.

And she just talks to it. She says she’s done disassociating from people. She knows that maybe nothing lasts, that maybe her friends will all drift apart and her town will die, but if that’s what’s going to happen, she wants to accept it. If everything disappears in the end, she wants it to hurt when it does.

The question, then: in this moment, are you, the player, talking to God? A demon goat? Or the dark parts of a mind in need of treatment? Or, a similar question: is the town dying because of the stagnation of wages, the shipping of jobs overseas, the failure of government to support small towns? Or is because the town needs to sacrifice to the beast that lives in the mines?

The game doesn’t have an answer for you. Instead, the game’s stance seems to be: whatever the answer, it’s out of your control. Be it economics, fate, religion, superstition, or mental illness, it is not a mystery you can solve, a villain you can shoot. It’s something you will have to live with, day by day. It is inexorable that, on a long enough timeline, everything ends. Maybe it doesn’t matter why. When you stare into a void, maybe it doesn’t matter whether you’re talking to God, a demon, or your own broken mind. Maybe what matters more is what you say.

You may never know the truth. So hold on to what’s good and live with uncertainty.

I feel like this is a very profound thing for a game starring an anthropomorphic cat to say. I also can’t shake that it felt more profound when I typed it out just now than when I experienced it myself.

As a person from a jerkwater town, who’s spent his entire adult life working his ass off and yet perpetually broke, who’s spent the last five years grappling with depression and anxiety and the radical acceptance it takes to know that his thoughts can sometimes be extremely alien to him, and who has walked the long path from Christianity to wishy-washy agnosticism to weary atheism, I feel this moment should have slugged me in the gut. I can’t think of a single game that would say such things, and I can’t think of a game that seems more explicitly tailored to my sensibilities and experiences.

But while I respect the hell out of Night in the Woods’ ultimate message, I still feel conflicted about how it plays out. I don’t think the game is wrong to veer into odd genres at the end - so many of its themes are internal and philosophical that literalizing them in order to build to a climax feels like a smart decision. I don’t know if it’s that the game spends such a long time raising questions and then kind of rushes the answers. I don’t know if it’s that Mae and her posse seem a lot more credible cracking wise and worrying about money than shooting people with crossbows. It’s certainly hard for a game about normal people with normal problems to throw in highly abnormal problems for the final hour.

I don’t know if I maybe just need to play it again.

I feel like the more I think about the ending, the better I understand it, but I still can’t say with confidence that I like it. And my appreciation of the game seems deeply rooted in the front half and not the final third.

And I don’t know when I’ll have time to go back in and play it again. For now, I’m glad I played it once. Whatever it was, it was certainly something.

