Wowie, thanks for the detailed feedback and the overall praise lol!
First and foremost, I once again agree: amazing voice-acting, they gave me SHIVERS, I'm not going to lie!!
For the rest, you captured quite well the way I tried to reuse the coding effects from SOTW and TDOTS! Basically, I tried to have the thematic continuity even in the coding (and also to make this game feel like the explosion of everything: while TDOTS and SOTW only leave to their respective characters the rests of what happened, TTATS has everything and makes it explode lol)
Thanks for complimenting the art, it was fun working with monochromatic palettes for the characters (I'll admit I included more gold in Phaedra than I did in TDOTS, but because in TTATS, all she sees is statue-looking Hippolytus; and even the statue-looking thing is supposed to portray Hippolytus as some sort of "Adonis", in contast with SOTW which depicts him in flesh and bones).
****** oh là là spoilers don't read it guys ******
I am sorry but your interpretation is all false, Phaedra is an innocent victim and Hippolytus is the villain for denying her euthanasia and a death in dignity (what dignity? one might say).
Okay, more seriously, I really loved reading your analysis, as it takes the progression of the trilogy into consideration (Phaedra appearing sympathetic in TDOTS - This being questioned in SOTW - Meeting the actual monster she is in TTATS). I remember you did notice the contrast in the mentality of these characters (Hippolytus' tendency to excuse others and Phaedra's tendency to blame the Gods, and to expect others to deal with her own situation - this is quite apparent in the play, as Oenone really takes the lead, Phaedra is basically her toy -). I'll admit my own personal perspective is a bit more nuanced (for example, Hippolytus doesn't apologise to Phaedra because he has falsely accused her: but because forming such suspicions actually diminshes the way he perceives his own virtue: Hippolytus is proud; and for Phaedra, well, I agree with you, but there is a sincerity in the way she hates her crime: and unlike a Matthieu, for example, she doesn't expect Hippolytus to love her back). However, in this very situation, Hippolytus is the victim, and Phaedra is his groomer, period. And also, the game is meant to be interpreted in various ways, and your reading of it is very interesting (and quite exact lol)
I'm glad you appreciated the way the colour matrixes was used, the idea wasn't planned at first, but when I got it, I thought it was perfect! She is indeed meant to take Ariadne's colours in a very twisted way, turning an actual victim (Ariadne) into a self-insert for her own wicked passion; and for Pasiphaë, it's indeed to portray her reaching the violence of her mother who, let's all remember this, disguised herself as a cow to get breeded by a bull.
For the fade-out text, the idea was "less is more": and rather than showing Phaedra jumping onto Hippolytus and Hippolytus struggling to break free from her, I thought it would be more frightening to let the player imagine that!
For the thread motif, it's a very good analysis indeed! And if I go even further, Hippolytus, in the myth, actually dies dragged by his horses, trapped in the reins... the thread can be a lot of things lol, but ultimately, it is linked to the damnation of the two characters.
Now, I would like to finish this comment by the last sentences I used to finish my reply to your review of TDOTS:
Now, I don’t know if Racine would enjoy this game (if he was alive today, I SWEAR he would be conservative), but I hope I honoured what I enjoy about Phaedra! Thanks for the nice feedback, Chatter!
But if I'm being honest, I do feel like he would enjoy this one moe than TDOTS loooool so it doesn't really work. However, I still hope I honoured what I enjoy about Phaedra, and thanks for the feedback and the lab-ratting!