{"id":935074,"date":"2025-12-29T18:27:20","date_gmt":"2025-12-29T18:27:20","guid":{"rendered":"https:\/\/www.polygon.com\/?p=440045"},"modified":"2025-12-29T18:27:20","modified_gmt":"2025-12-29T18:27:20","slug":"in-the-crush-house-chaos-is-in-the-camera","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/in-the-crush-house-chaos-is-in-the-camera\/","title":{"rendered":"In The Crush House, chaos is in the camera"},"content":{"rendered":"
\"Screenshot
<\/figcaption><\/figure>\n

I\u2019m not supposed to speak to the four-person cast of The Crush House<\/a><\/em>, but when they\u2019re asking for favors \u2014 late at night, when the cameras are off \u2014 it\u2019s hard to say no. One shy cast member of the in-game reality TV show wants to project a persona into the world that\u2019ll surprise people: They want me to film them making friends and <\/em>enemies. Another cast member doesn\u2019t want her parents to see her smoking, and she wants me to turn my camera off when she\u2019s got a cigarette in hand. Then there\u2019s the person who wants to prove to her mom that she\u2019s hot stuff (??), which means showing her kissing two separate people. As Jae, the cameraperson and producer, I play a big role in how these people are portrayed to our growing audience; I shape their narrative by what I choose to film, and what I don\u2019t. But I\u2019m also still at the whims of my bosses \u2014 i.e., advertisers \u2014 and the audience, both of whom dictate whether the show will get canned.<\/p>\n

Created by developer Nerial and published by Devolver Digital, The Crush House<\/em> \u2014 not the in-game show, but the eponymous game released on Aug. 9<\/a> \u2014 gamifies the dating reality TV show experience but switches up the perspective. \u201c[Former Nerial creative director Arnaud de Bock and I] were both obsessed with this reality show called Terrace House<\/em>,\u201d creative director Nicole He told Polygon. \u201cThat\u2019s where the spark of the original idea came out.\u201d<\/p>\n

\"Screenshot<\/p>\n

Terrace House<\/em> \u2014 a Japanese Netflix show \u2014 doesn\u2019t have a ton of big, splashy drama, so while it was the spark of the original idea, The Crush House<\/em> doesn\u2019t look much like it. \u201cWe had to trash it up,\u201d He said.<\/p>\n

And trash it up they did. The Crush House<\/em> is more clearly inspired by Western reality TV shows known for messy drama, like Love Island<\/em> or The Real World<\/em>. (It\u2019s also influenced by \u201cThere Will Come Soft Rains\u201d by Ray Bradbury and \u201cI Have No Mouth, and I Must Scream\u201d by Harlan Ellison, senior narrative designer Daisy Fernandez told Polygon. Fernandez said the inspiration from these texts counterpoints the \u201cbubblegum, hyperactive chaos\u201d of the game with \u201cthe messy darkness that\u2019s happening underneath it all.\u201d)<\/p>\n

The Crush House<\/em> is played in weeklong seasons where the player is to film four strangers meeting, living, loving, and hating together in a Barbie-meets-vaporwave mansion. Mechanically, this means picking up a video camera and starting to film. The catch is that you have to balance the wants of viewership with playing ads, and then, later, assisting the cast with their<\/em> requests, too. <\/p>\n

Viewers are lumped into different categories, all several dozen of which want something different out of the show: Voyeurs want to feel like the cast doesn\u2019t know they\u2019re watching. Plumbers are interested in pipes \u2014 literal pipes and plumbing, like the toilet or a sink (even better if a cast member is using one). You can guess what Butt Guys want. As days go on and seasons progress, players need to meet the needs of more and more audience types while earning money by airing ads. With the money, you can buy different props to place around the house, which in turn help meet different audience needs. So if I want to please gardeners, I can add a watering can. Filming a person watering the flowers is then the, uh, money shot.<\/p>\n

\n
\n
\n

Filming a person watering the flowers is then the, uh, money shot<\/p>\n<\/blockquote>\n<\/figure>\n<\/blockquote>\n

If you don\u2019t meet the viewers\u2019 needs at the end of a day of filming, your version of The Crush House<\/em> is immediately taken off the air. Poof, it\u2019s gone \u2014 then you can start the season over. If you do meet audience expectations, you\u2019ll move on to the next day of the weeklong season. All the while, there\u2019s a narrative arc around the cast members and the house itself, which plays out between camera shots. It\u2019s less like watching an episode of Love Island<\/em> and more like perusing the show\u2019s deleted scenes, Fernandez said. \u201cWith Love Island<\/em>, it wasn\u2019t so much the actual episodes of the show, because they\u2019re edited in a way where they just talk about their attraction to each other,\u201d Fernandez said. \u201cYou don\u2019t really see the interpersonal moments that\u2019s edited out.\u201d You see that when you watch the deleted scenes, though, she said.<\/p>\n

I find reality TV shows the most compelling when I\u2019m thinking about what\u2019s happening when the cameras are off. The Crush House<\/em> iterates on that idea. \u201cA lot of the appeal is wondering about what\u2019s going on behind the scenes, like theorizing about how producers are manipulating the show, or what kind of edit somebody might be getting that\u2019s not reflective of the true situation,\u201d He said. \u201cWho are you as this [producer]? [Is] the distance right between you and the cast members? How can we explore that from a narrative perspective and make it interesting to serve that larger mystery?\u201d<\/p>\n

In playing The Crush House<\/em>, I see myself making those sorts of decisions that prioritize giving viewers what they want over, say, filming reality. For the most part, I don\u2019t actually care at all about what the cast members are doing or who they\u2019re doing it with \u2014 they might as well be just walking, talking setpieces that make the numbers go up. Sometimes, I don\u2019t even have to film anyone at all, because my various props do the trick, like focusing on a firepit to satisfy the Pyromaniacs. A firepit plus a bench to sit on (for the Nursing Home Residents) and a still, unmoving shot (to ease the pain of the motion-sick viewers) is even better, because I get a bonus for making three different types of viewers happy with one shot. It seems like this is what Nerial was going for with its commentary on reality TV, but bending solely to ads and the viewers\u2019 desires also makes playing<\/em> the game less compelling. Of course, Love Island<\/em> would be much less compelling if it catered to audiences the way The Crush House <\/em>does \u2014 but that\u2019s the whole point. The Crush House<\/em> is taking the perception of reality TV and turning it up to 1,000.<\/p>\n

\"Two<\/p>\n

During filming, a dark science fiction mystery about the origins of the house and the show unfolds as I break the rules and interact with the cast after hours.<\/p>\n

The problem is that to help the cast with their various problems, usually related to how they want to appear on screen, I have to film certain things \u2014 which doesn\u2019t wildly change the way I\u2019ve been interacting with the world thus far. It is<\/em> another thing to balance against viewership and running ads, but it doesn\u2019t meaningfully impact or sway me toward anything different. Ultimately, I\u2019m still just looking to optimize scenes for maximal points; say, if one character doesn\u2019t want her ass on screen, I\u2019ll just shoot her from the front. Cast member needs are just another thing I have to do to progress the story, and they don\u2019t necessarily develop the cast members as characters or add a ton of complexity to gameplay.<\/p>\n

\u201cThe idea that the player character is complicit with this larger structure, which is a light spoiler, chewing and spitting out these cast members\u2026 we didn\u2019t want to bang the player on the head with anything didactic about the morals of reality TV, but it\u2019s definitely an interesting area \u2014 the relationship between the producer and the cast,\u201d Fernandez said.<\/p>\n

I\u2019m several hours (and seasons) into The Crush House<\/em> at this point, and I find that it\u2019s become more compelling to play over time; The layers of it all, be it the viewership demands or the creepy (and literal) underworld storyline, come together in a way that makes the game\u2019s repetitive elements feel more interesting. It\u2019s in those repetitive moments \u2014 you do the same things every day \u2014 that The Crush House<\/em> feels like the concept is doing more work than the game itself. The level of intrigue \u2014 whether that\u2019s simply wanting to see all the weird viewership groups and what pleases them or a morbid curiosity in what forces keep The Crush House<\/em> on TV \u2014 keeps me coming back regardless.<\/p>\n

The Crush House was released Aug. 9 on Windows PC. The game was reviewed on Windows PC using a download code provided by Devolver Digital. Vox Media has affiliate partnerships. These do not influence editorial content, though Vox Media may earn commissions for products purchased via affiliate links. You can find <\/em><\/em>additional information about Polygon\u2019s ethics policy here<\/em><\/a>.<\/em><\/em><\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

I\u2019m not supposed to speak to the four-person cast of The Crush House, but when they\u2019re asking for favors \u2014 late at night, when the cameras are off \u2014 it\u2019s hard to say no. One shy cast member of the in-game reality TV show wants to project a persona into the world that\u2019ll surprise people: They want me to film them making friends and enemies. Another cast member doesn\u2019t want her parents to see her smoking, and she wants me to turn my camera off when she\u2019s got a cigarette in hand. Then there\u2019s the person who wants to prove to her mom that she\u2019s hot stuff (??), which means showing her kissing two separate people. As Jae, the cameraperson and producer, I play a…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":935075,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-935074","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nIn The Crush House, chaos is in the camera | Arcader News<\/title>\n<meta name=\"description\" content=\"I\u2019m not supposed to speak to the four-person cast of The Crush House, but when they\u2019re asking for favors \u2014 late at night, when the cameras are off \u2014 it\u2019s\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arcader.org\/news\/in-the-crush-house-chaos-is-in-the-camera\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" 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