The possible significance of K7's odd, restrictive controls
This is something I seldomly see discussed. We've all been over the plot several times, but how do the odd controls fit in with this flawed masterpiece? There are several possible explanations. The most obvious is that, considering Suda's resumé, they are (point and click) adventure controls mapped to a controller. But there is another interpretation, by me. I'm not sure if Suda really intended this (I doubt it actually), but playing the game, pushing the A button and seeing my character run down a predefined path on the way to uncovering terrible secrets makes me feel like I'm in a dream that is slowly turning into a true nightmare (with Greg Nightmare being the final 'boss'), not unlike a Lynch movie like Mulholland Drive, indeed. On top of that, I have the feeling that I'm running towards a literally inevitable fate. There are different paths to take, sure... But they all lead to one crucial point and a final choice, with probably equally destructive consequences. This is no different from most games, but the experienced restrictions in K7's controls make me far more aware of this sensation. Where it becomes most apparent is in the final Yoon Hyun Hotel section in Target: Smile and the Epilogue. The Uniun Hotel section especially pushes you forward to each of the Killer7's rooms, towards a horrible and Garcian's world-shattering truth. Am I full of it or did other players experience the game like this as well?

I forgot who it was, but someone made the same comment about how the controls seem to present you with seperate paths that lead to the same destination, so it seems you're not alone. It could just be the result of a decision in gameplay in order to control the game's cinematic feel, but it may be possible that it was a creative decision on the part of the story, which would certainly be a first in gaming.

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Yeah, it would be the antithesis to the Nintendo aesthetic of 'gameplay concept' first, story later. I'd like to think that Suda, conscious or not, is using the restrictive controls to make a point about the enivitability of fate. Although it's a big cliché in itself.

Seems plausible. I'm of the opinion that the gameplay of Killer 7 actually resolves the main loose plot thread from Moonlight Syndrome. What really happened to Mika Kishi? http://www.killer7.3dactionplanet.gamespy.com/killthepast.htm Ending Credits Final http://www.youtube.com/watch?v=oDwVMvqpOg4 Ryo Kazan is seen running & walking across a valley. He eventually runs into Mika Kishi. (She's supposed to be dead, but I'll get into that shortly.) The two of them hug each other affectionately. After the credits roll. We are taken back into Ryo's room. Rumi is shocked to see Ryo laying there lifeless. Ryo is clutching on to a paper bag containing the severed head of his sister Kyoko Kazan. Rumi looks at the tv screen & sees Mika Kishi trapped inside. Moonlight Syndrome never actually tells you why Mika Kishi is stuck inside the tv. (In fact the MS ending is the only time in the game that the tv ever gets focused on.) The only hints that we have to go on are 1. Mika was present during the ending credits. She hugs Ryo Kazan. 2. We later see Ryo lying around dead or unconscious sitting in front of a tv & still holding on to Kyoko's head contained inside a brown bag. (The brown bags in Killer 7 are supposedly the heads of the Smith Syndicate.) 3. You can clearly see Mika Kishi tapped inside Ryo's tv. This cliffhanger from Moonlight Syndrome finally gets answered 8 yrs. later (2005. Moonlight Syndrome was originally released in 1997.) with the release of Killer 7. Emir Parkreiner from Killer 7, who uses the tv as a medium in order to "channel" in the Smith syndicate is actually a conclusion to the ending of Moonlight Syndrome. Finally, Killer 7 shows to you the final conclusion to Moonlight Syndrome The meaning behind the tv & what actually happened to Mika Kishi. ----- In Killer 7 we later find out that The Smith Syndicate are all dead, & we actually transmigrate their souls into Emir through the use of the tv as a medium. Through the course of the game mechanics of Killer 7. We are indirectly explained how Mika was able to hug Ryo during the credits. She was actually a corporeal spirit, who may have been using Rumi's body as a host. Just like how the Killer 7 utilize Emir's body as the main host in order to exist in the physical plane. So in effect it's not that K7 is referencing Moonlight Syndrome. Killer 7 is actually closing the final chapter in the Moonlight Syndrome game. (The only remaining loose thread from Moonlight Syndrome is Yayoi Itsushima/Hanayama herself.) I'm planning to upload detailed accounts about most of these questions at these two pages http://www.killer7.3dactionplanet.gamespy.com/sousa.htm http://www.killer7.3dactionplanet.gamespy.com/psycho.htm I haven't gotten a chance to work on them yet, because I'm working on graphics for the Moonlight Syndrome page. I still need somebody to upload content for No More Heroes. http://www.killer7.3dactionplanet.gamespy.com/nmh/ makes me feel like I'm in a dream that is slowly turning into a true nightmare (with Greg Nightmare being the final 'boss'), not unlike a Lynch movie like Mulholland Drive, indeed. Nah, MD is more similar to Fower, Sun, & Rain. IN SC, the word Muholland is sometimes used to refer to FSR. I doubt that FSR has anything to do with Lynch's tv series/movie though. (Considering that SC was made in 1999, and FSR came out 6 months before the movie.) I think that both Suda & Lynch just happen to smoke the same shit, lol. The one thing MD & K7 do have in common is the constant red herrings. However what makes K7 differ immensely from FSR & MD, is that K7 pretty much begins as batshit insane, & ends as bat shit insane. One of the reasons for that is the full moon before every level. Here's the instructional video where I point out some of the common threads between these games. http://www.youtube.com/watch?v=c3ba_sAneAM

Thanks.
That's interesting. I don't know a thing about the other Suda games. Nah, MD is more similar to Fower, Sun, & Rain. IN SC, the word Muholland is sometimes used to refer to FSR. I doubt that FSR has anything to do with Lynch's tv series/movie though. (Considering that SC was made in 1999, and FSR came out 6 months before the movie.) I think that both Suda & Lynch just happen to smoke the same shit, lol. The one thing MD & K7 do have in common is the constant red herrings. However what makes K7 differ immensely from FSR & MD, is that K7 pretty much begins as batshit insane, & ends as bat shit insane. One of the reasons for that is the full moon before every level. Oh, I'm not saying they're the same. The playing style of K7 just gives me a similar feeling of watching MD, without looking at thematic, setting etc. How can I get my hands on Goichi's other games (save for Contact & NMH)? And will I be able to play them, without knowing Kanji?

Well, if you're willing to wait a few months you'll be able to get your hands on the Flower, Sun and Rain DS remake, and maybe The Silver Case later this year.

Are you serious?
That's excellent!