![]() Killing you, your wife, and stealing the pocket watch, thus becomes the metaphorical representation of ending your relationship. See, in the mind palace, the cop is coming to kill your wife for revenge and to steal your father’s pocket watch in order to sell it for his daughter’s cancer treatment. The cop’s daughter, who is dying from cancer, then becomes a stand-in for how he sees your sister/wife. You can tell because they have the same voice actor, and in the game’s true ending, your father uses the cop’s most oft-repeated line to get you to stop fucking your sister: “Thank you for understanding why it needs to be this way.” He also reminds you that “you can’t just try again,” cementing the game’s time loop narrative as a failed attempt to envision a world where you happily get to continue your relationship with your sister/wife. The cop who keeps killing you and your wife is actually the psychosexual representation of your own (shared) father. It’s as if Twelve Minutes was supporting its entire body weight on its nose, and that nose is breaking. Also, there’s a really graphic animation for stabbing your wife to death in the game for…some reason? No one’s quite sure.Īll of this shit sucks, which is compounded by how poorly delivered it is. To get enough information from the cop, you must zip tie him on the ground and shoot his limbs until he talks. Drugging your sister/wife is plot critical, and must be repeated multiple times. Twelve Minutes makes you watch as your pregnant sister/wife (this was tough to type) is kicked in the stomach, shot in the head, and strangled. And third, that all of this was part of your psychosexual mind palace and the only thing that really happened was the incest. ![]() To learn this, you have to drug her and torture a man. ![]() Second, that she failed to kill her father and it was actually you, the protagonist, who killed him. To learn this, you have to watch her get murdered from the closet. ![]()
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