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I am lucky enough to be totally ignorant of what it is like to grow up with parents who were anything other than loving and kind. Papo & Yo, a downloadable game released earlier this month for PlayStation 3, is something commonplace in other art forms but comparatively rare in videogames, an attempt by an artist to exorcise his own demons through his chosen form of expression. Although I was really anticipating Papo & Yo, I had other obligations and got to the game late. I was intrigued by the gameplay in Papo & Yo, not for its challenge but for (what I perceived as?) the integrity of its metaphor. Papo & Yo lingers after you finish it, not merely because of the powerful subject matter but because there are unanswered questions. Even in a game that deals so unflinchingly with abuse, some stories aren’t ready to be told. Since the first movie was released in the 1980s, the Child’s Play franchise and its cursed doll Chucky have become horror-movie classics.
Gene loved his creepy new friend, and his parents didn’t think much of it when their son began chattering away to the doll. Robert the Doll was apparently the jealous type, and soon Gene’s other toys were mutilated.
When the doll was confined to the attic, guests heard unexplained footsteps, laughter, and movement upstairs, even though no one was there. Gene died in 1974 and his house was sold, along with Robert the Doll, who was in a trunk in the attic. While I was researching this post, I was startled by the similarities between Robert the Doll and the cursed bear in my latest book, The Bear Who Wouldn’t Leave. At the very least, Gene was disturbed and was using the doll to cover his own bad behaviour. I’d never heard of Robert the Doll until yesterday, but the similarities between this story and mine were a bit freaky. The first indication I ever had that people around me may not have been was when a friend told me she used to hide in the closet as a young child to escape her drug-addicted father’s rampages.


The child escapes into his imagination: a door magically opens on the closet wall behind him and he darts through it, into a world over which he can exercise some form of control.
Houses might be made to walk on spindly white legs; a whole tower of water tanks might be built and stretched and twisted to form a walkway. Some of the puzzles stopped me for a brief moment, but otherwise the game offered no resistance; the puzzles are easy and the platforming action is almost impossible to fail. After I finished it, I saw that other critics who had weighed in all generally agreed that its lack of challenge had hurt it; without challenge you never get that exhilarating feeling of triumph. Early review copies of Papo & Yo were apparently plagued with bugs that, in multiple instances, were bad enough to cause players to have to restart their games from the beginning. I’m still left wondering, for instance, about the meaning of two dreamlike real-world sequences that are disconnected, at least superficially, from the rest of the story.
In the story, she serves the purpose of moving the plot along, telling Quico and by extension the player what needs to be done to save Monster.
One of his family’s Bahamian servants made the spooky-looking thing out of a wire frame, cloth, straw, and hair from Gene’s own head. However, it did give them pause when the doll answered back–in a completely different voice. Neighbors reportedly saw the doll watching them from different windows when the family was known to be away from the house. Once Gene’s parents died, he moved back to his childhood home with his wife Anne, and was soon reacquainted with his old fiend. Pedestrians saw the doll staring at them from the home’s windows, and children began crossing to the other side of the street as they approached the house. The new family’s ten-year-old daughter claimed the ugly thing as her own, but soon regretted it. As soon as it answered Gene back in a totally different voice, it should have been out of there! The ghost of Mark Twain always advises me to give a Viking funeral to any doll that starts speaking!


Outside the Otto house, as the tour guide was telling the story of Gene and Robert the Doll, all the hair on my body stood straight up and I felt something shoot through me. It seems as if the design team consciously stripped the friction out of Papo so that players would be more likely to follow the story through to its dramatic conclusion. But when Monster grabs her, he treats her in a starkly different manner than he does Quico.
This same servant was apparently mistreated by the family, had recently lost her own child when she was ordered to take care of Gene, and was skilled in black magic and voodoo. Her other dolls were mutilated, and it wasn’t long before she began having night terrors. The museum is full of letters of apology from those foolish enough to snap a photo against the doll’s wishes. All sorts of creepy things have happened to the documentary crews and media who attempted to film it at the museum–cameras dying and malfunctioning, etc. She blogs about unsolved mysteries, the supernatural, haunted places, and spooky true stories. But when the monster sees a poisonous green frog, he has no choice but to eat it, and this sends him into a rage, hurting everything around him.
She claimed that Robert moved about the room and had even attempted to attack her on multiple occasions. That strange feeling stayed with me for over an hour, and affected me to the point that I had no desire to go to the museum to see Robert.



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