(Note: This essay contains spoilers for both Analogue: A Hate Story and its sequel Hate Plus; in addition it assumes knowledge of the game and its story.)

"She seems ...well... like one of the most amazing villainesses I've ever encountered."
“She seems …well… like one of the most amazing villainesses I’ve ever encountered.” (Pictured, Oh Eun-a. The one with the cursor on her face is *Hyun-ae).

“I just can’t believe a woman is responsible for all of this!” exclaims *Hyun-ae as you finish reading the most revelatory letter in all of Hate Plus’ archives. Her fury boils over—the regressed patriarchal nightmare that had taken hold on her colony ship, the Mugunghwa, the ninth circle of hell she had awoken into when her stasis pod was shattered by a feckless noble in want of a marriageable daughter, the same man who would steal her voice with steel—all of this was sired by a woman who made of her ideology a terrifying suture to bind the wounds of womanhood.

Oh Eun-a, no less an emancipated woman than the President of Mugunghwa University herself. She was the architect of the neo-Confucian patriarchy that the Mugunghwa degenerated into.

If pressed to name my favourite character in the series, I would—to no one’s greater shock than my own—have to name Oh Eun-a, however. In a game series that is an epistolary tableau of complex and intriguing characters, she manages quite the feat by standing out the most. Oh Eun-a is perhaps most easily described—and effaced—as a mad social scientist. But she is so much more than this sideways twist on a hoary old cliché; indeed, she reveals both the impossibility of womanhood under patriarchy and the terrible burdens of idealistic scholarship.