The work uses the form of a first-person video game, addressing an important topic of domestic violence or so-called “invisible” violence against children, especially behind closed doors. In order to solve the problem, the actresses must take an active role in the events, using their own experiences, emotions, tactics and strategies they must actively intervene. Facing a memory of their own childhood and their own traumas helps video game players save the protagonist and bring him out of a constant cycle of violence.
The work is visually and audibly thoughtful and specific. We especially emphasize the author's conceptual decision for three-dimensional modeling of a dark, morbid, monochromatic environment, which places the content in an appropriate context and visually works coherently. The work does not moralize or romanticize. With a form that corresponds to the content, encourages mental and other engagement of participants, increases their social responsibility, sensibility and empathy, and thus addresses the burning, serious and long-standing problem of modern society, not only behind closed doors, but it also exceeds it at several points. With the visual imagery and indie appearance, it is also attractive to younger actresses and reaches the audience of all ages. The project has a well-thought-out concept that we wish for it to find its way to a wider audience. A fairly large team of colaborators and co-authors of the video game Bloodthorn promises a meticulously detailed project that can find a recognizable, outstanding place at the 2021 IFCA exhibition.