Derham notes that most people have some sort of internal monologue active when weāre being spoken to, but itās mostly not at the foreground, and itās also not audible: āImagine if every time someone was talking to you, you had that constant commentary on what theyāre saying, maybe even arguing about the meaning. Every time Senua meets a new character, the voices are going to react to that.ā
Fletcher accentuates this by describing a big step in the understanding of psychosis from a research perspective, which revolves around the meaningfulness of experiences for those living with psychosis. Theyāre not just neural noise ā the experiences are constructed in the same way we all construct our reality.
āWhatās exciting to me about Hellblade II is the growing interest that people can entertain two levels of reality,ā Fletcher says. āSenua may have the darkness and the voices, but at the same time, she can recognise and be part of other peopleās constructions too.ā
āSenua may have the darkness and the voices, but at the same time, she can recognise and be part of other peopleās constructions too.ā
Professor Paul Fletcher
Senuaās willingness to be part of other peopleās stories ā as we briefly mentioned earlier regarding her choice to save someone who is a stranger to her ā also showcases another aspect of how sheās moving past certain experiences that made her so insular.
āHer psychosis had influenced her relationships with other people to a point where she was weary and withdrawn from the world, Derham says. āWhat weāre showing now is her starting to overcome that, depending on who she meets, and weāre showing that her perspective is just as valuable as anyone elseās.ā
āSome people will react to her with harshness or horror, but some will see her differently, and sheāll find common ground and share positive experiences with them. Itās really exciting to watch Senua explore these interpersonal dynamics and relationships with other characters, and how she can help them.ā
