How Mouthwashing continues Alien’s condemnation… | Little White Lies

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How Mouth­wash­ing con­tin­ues Alien’s con­dem­na­tion of work­er exploitation

26 Feb 2025

Words by Alex Masse

Colourful, surreal interior with assorted dishes, plates, and a mysterious figure in red costume.
Colourful, surreal interior with assorted dishes, plates, and a mysterious figure in red costume.
Tak­ing cues from Rid­ley Scot­t’s jug­ger­naut, Mouth­wash­ing is a fas­ci­nat­ing game about work­er exploita­tion and the vio­lence of the patriarchy.

Con­tent warn­ing: Dis­cus­sion of sex­u­al assault and suicide.

What does it mean to be expend­able? Over the pan­dem­ic, many of us learned first­hand. Some were dis­card­ed in mass lay­offs, and oth­ers, deemed essen­tial work­ers,” risked expo­sure to a dis­abling-if-not-dead­ly virus every time they clocked in.

But work­er exploita­tion did not begin with the pan­dem­ic. A defin­ing – though per­haps unlike­ly – work on the sub­ject is Rid­ley Scott’s 1979 sci-fi hor­ror Alien, which imag­ines what expend­abil­i­ty might look like on the final fron­tier. Don’t let its sev­en­ties retro­fu­tur­ism fool you; half a cen­tu­ry lat­er, the fran­chise retains a strong fol­low­ing, inspir­ing sequels, pre­quels, knock offs and fine works in their own right. These include game stu­dio Wrong Organ’s 2024 indie sci-fi hor­ror title Mouth­wash­ing’, which is a clear homage to Aliens unset­tling atmos­phere as well as oth­er hor­ror titles of the 70s and 80s (fans have been quick to note a cer­tain character’s resem­blance to Shel­ley Duvall in The Shin­ing), yet also adds its own take to the dia­logue of exploita­tion observed in Scott’s film.

The sim­i­lar­i­ties between Aliens Nos­tro­mo ves­sel and Mouthwashing’’s Tul­par are strik­ing; both are freighters, run by small, work­ing-class crews, trans­port­ing goods for shad­owy employ­ers. The retro­fu­tur­is­tic aes­thet­ic also per­sists on the Tul­par, with its blocky green com­put­er tech­nol­o­gy and lounge’s con­ver­sa­tion pit.

Addi­tion­al­ly, both sto­ries fea­ture an unwant­ed preg­nan­cy. But where Nostromo’s Exec­u­tive Offi­cer Thomas Kane is forcibly impreg­nat­ed – and sub­se­quent­ly killed – by an alien life­form, Tulpar’s nurse, Anya, falls preg­nant fol­low­ing her rape by the ship’s copi­lot Jim­my. This is per­haps the largest dif­fer­ence between Alien and Mouth­wash­ing’, at least the­mat­i­cal­ly – in Mouth­wash­ing, there is no alien life­form lurk­ing in the shad­ows, just the cru­el fact of work­place sex­u­al assault, and you can’t cov­er your eyes when­ev­er Jimmy’s onscreen. He’s the pro­tag­o­nist. You move through the game through his eyes.

Yet Jim­my doesn’t exist in a vac­u­um. When we see Anya dis­cuss her assault with her cap­tain, Curly, he’s quick to sug­gest that the inci­dent doesn’t have to be record­ed on the crew’s per­for­mance log. He then assures her that he knows” Jim­my, and will talk to him about the inci­dent – except when the con­fronta­tion comes, Curly is stopped in his tracks by Jimmy’s reminder that this could jeop­ar­dize both of their careers. Instead, Jim­my sug­gests – and lat­er attempts – a bru­tal mur­der-sui­cide by crash­ing the Tul­par into an aster­oid to avoid the inevitable con­se­quences. Curly tries to inter­vene, but this only results in hor­rif­ic injuries that leave him mute and bed bound.

Once the mission’s leader, Curly is sud­den­ly ren­dered more pow­er­less than any of his crew­mates. When Anya can’t bring her­self to give the help­less Curly his painkillers, the respon­si­bil­i­ty becomes Jimmy’s, who is now the act­ing cap­tain. It’s implied that before the crash Jim­my was envi­ous of Curly’s posi­tion, and he insists upon being referred to as the cap­tain once he takes over – even though he crum­bles under the pres­sure. Jim­my takes out his frus­tra­tion on Curly by force-feed­ing him the pills, the lat­ter unable to object beyond choked, pained nois­es. While Anya’s assault takes place just before the start of the game, Jimmy’s treat­ment of Curly feels like some­thing of a par­al­lel – and, by putting the play­er in con­trol of Jim­my, makes it inescapable for the audience.

It’s like­ly that Jimmy’s cru­el­ty towards Curly, along­side being trapped on a ship with her rapist and the bleak prospects of their dwin­dling resources, all con­tribute to her even­tu­al sui­cide by over­dose. After Anya’s death, Curly becomes even more of a tar­get for Jimmy’s vio­lent out­bursts, and like Aliens Kane, Curly is immo­bi­lized with his auton­o­my tak­en away. While he does not share Kane’s unfor­tu­nate fate of birthing” an alien, Jimmy’s mis­treat­ment of him is a vio­la­tion all its own.

That said, in both Alien and Mouth­wash­ing’, the cycle of vio­lence does not start with any mere crew mem­ber, regard­less of rank. In both cas­es it goes all the way to the employ­ers: the com­pa­nies of Wey­land-Yutani and Pony Express respec­tive­ly. In Alien, this is a plot twist: after sev­er­al crew mem­bers have been killed by the Xenomorph, War­rant Offi­cer Rip­ley dis­cov­ers Spe­cial Order #937, giv­en to the ship’s sci­ence offi­cer, Ash: Ensure return of organ­ism for analysis…all oth­er con­sid­er­a­tions sec­ondary. Crew expendable.”

Mouth­wash­ing’, mean­while, reveals ear­ly on that the crew is being uncer­e­mo­ni­ous­ly laid off with Pony Express cit­ing bank­rupt­cy. The expend­abil­i­ty of the work­ers isn’t a twist at all: rather, it sets the stage for the des­per­ate, vio­lent mur­der-sui­cide attempt that Jim­my hopes will spare him – and Curly – from an uncer­tain future. Swansea, the ship’s mechan­ic, puts it best: What a joke. And we’re the punchline.”

In both works, the crew mem­bers are picked off one-by-one – though in Mouth­wash­ing’, there’s no alien lurk­ing in the shad­ows. After Anya bar­ri­cades her­self in the med­ical bay, Jim­my pres­sures Swansea’s pep­py young intern, Daisuke, into trav­el­ling through a dan­ger­ous part of the ship in an attempt to save her, which leads to his death. When Swansea con­fronts him for his role in Daisuke’s – and Anya’s – fates, Jim­my kills him too.

Curly, though, Jim­my keeps alive, through increas­ing­ly des­per­ate means. At his low­est point, he hacks a piece of Curly’s leg off and feeds it to him, hal­lu­ci­nat­ing Curly assur­ing him that he’ll be con­sid­ered the bet­ter man in the end.” In this sur­re­al sequence, Jim­my falls to his knees and apol­o­gizes, vow­ing to take respon­si­bil­i­ty – some­thing the play­er has seen him avoid time and time again. In his final hal­lu­ci­na­tion, the Pony Express mas­cot, Polle, even taunts him for it, ask­ing, You real­ly mean that, huh?”

Yet it seems that Jim­my does mean it: in fact, Curly is the only per­son he tries to apol­o­gize to. Even then, his remorse is incred­i­bly lim­it­ed, with his hal­lu­ci­na­tion of Curly touch­ing on how he’s remem­bered rather than actu­al­ly address­ing the harm he caused. After all, Jim­my is in a near-con­stant state of flight from account­abil­i­ty, despite his insis­tence oth­er­wise: he express­es no remorse for sex­u­al­ly assault­ing Anya, and instead only dreads the bur­den of father­hood, with many of his hal­lu­ci­na­tions cen­tred around preg­nan­cy and child­birth. All he fears is his own future and the con­se­quences of his actions, rather than the actions them­selves. Besides the mon­strous, fleshy forms of Polle, he most­ly hal­lu­ci­nates Curly, and bemoans how he’s failed Curly in par­tic­u­lar; his friend, his boss, and his biggest enabler. In the end, he gives Curly the Tulpar’s sole escape pod, declar­ing that he’s fixed” every­thing, and shoots him­self in the head – a quick, clean death, a final escape from his con­se­quences. The Tul­par is left a tomb. Nobody has a say in any of it. Exploit­ed, expend­able bod­ies, exploit­ing one anoth­er right to the end.

Mouth­wash­ing’, in many ways, feels like a response to the warn­ings of work­er exploita­tion in Alien, remov­ing the out­side mon­strous force and instead focus­ing on the work­er per­pet­u­at­ing vio­lence as he him­self is vio­lat­ed. What makes Jim­my ter­ri­fy­ing is that there are men out there just like him – and men like Curly out there hap­py to pro­tect abusers. You can tell them to take respon­si­bil­i­ty a thou­sand times, but until they know what that actu­al­ly means, until we can dis­man­tle the sys­tem that per­pet­u­ates and prais­es exploita­tion, they’re not going to change. Nei­ther Alien nor Mouth­wash­ing’ pro­vide insight on how to break this cycle of vio­la­tion, but their warn­ings could not be more clear: we can­not view each oth­er as expend­able, as col­lat­er­al to the bot­tom line, as any­thing less than the peo­ple we are. Los­ing sight of that is the first step in uphold­ing the vio­lence of the sta­tus quo.

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