You're welcome, but you're the one who wrote such an outstanding article to begin with: I'd been wanting to write about this for a while, but couldn't conceptualize it outline-wise. Good job!

Actually, I was surprised more people didn't end up writing about it for the various ludology places out there: based on Critical Distance and the criticism Reddit, there's only 3 (yours, one on dialogue, and the boilerplate "ludo-narrative dissonance!" article that always pops up).

Yeah, it's interesting just how deep the concept goes. Those points you make didn't even cross my mind when putting this together, and yet they only add to the idea that this game is a critique of Caucasoid meddling in Brazil.

I especially like the one about the duality of the American tourists Max can meet. It makes a lot of sense too, given that Max's response to the one he finds in a whorehouse is revulsion (and, in hindsight, a superficially unwarranted amount of anger), whereas he's almost stunned by the existence and work of the kind ex-cop. It's like he sees that possible future and it's so different from the road he's headed down that he can't even imagine that this person exists. He's glad the guy does, but otherwise is utterly bewildered every time he runs into the man.