Har! You reminded me of another one…
Raz: So, is this the part where I listen to a long lecture about how dangerous it is to lose control of one’s own mind before you give me my merit badge?
Sasha: No. Here’s your badge. Let us never speak of this again.
And there were the “secret agents” who wandered around in Boyd’s mind, pretending to be people they obviously were not, carrying around various objects as a “disguise”. For example: to get into the cemetary, you need to disguise yourself as a grieving widow. So, like the other secret agents, you need to be carrying a flower. If you speak to an agent, you will say, “I am a grieving widow,” and the agent will respond in a husky male voice, “I am your sister in grief.”
One thing I found interesting about the game was the hidden traumas of the various characters.
[spoiler]Through the magic of ViewMaster, we learn that Sasha’s mother died while he was still a baby, and the loss apparently still haunts him. And when he reads his father’s mind to learn about his mother, he apparently sees a bit more than he’d like to, which compounds the trauma, leading him to run away from the family business and hate tacky lamps of the sort Dad made forevermore.
And then there’s Milla. Hidden in her psyche is a “nightmare room” filled with whispering ghosts from her past: apparently, she was a nurse or nun or something of the like at an orphanage. One day the orphanage burned down while she was away, and the deaths of the children haunt her mightily. That is one creepy room, what with the locked-up nightmares whispering “milla, why did you let us die” and “we’re burning, milla” over and over. For a woman whose entire psyche is a combination pinball machine and dance club, that’s some heavy stuff right there.[/spoiler]
And hidden traumas like those above are really just background; they tell you about the characters, but they’re not a vital part of the game. Just part of the rich tapestry that is the story.