defy the expectations of how they should behave in the context of a slasher film . For example , Jessica ( Meaghan Martin ) is quickly introduced as an archetypal provocative cheerleader , whose current relationship with her boyfriend Mike ( Brett Dalton ) is largely defined in carnal terms . She is also the second least playable protagonist , only reinforcing her apparent place as a sexualized victim whose choices are made on her behalf by other characters . This becomes apparent when Jessica and Mike seclude themselves in a cabin separate to the group on a midnight tryst , all of which the player directs from Mike ’ s perspective . Of particular note in this chapter are the choices made determining whether Jessica acquiesces to Mike ’ s sexual advances and , consequently , how clothed she is towards the game ’ s finale . However , the journey is an unusually harrowing one involving traversal through an abandoned mine and a breathless chase through the woods as the couple escape from some unknown pursuer . In a manner almost conscious of Barnes ’ urban legend morphology , Jessica suffers from the ordeal and expresses vulnerability , acting like a human being rather than a vapid cliché . Her dialogue with Mike ( or rather the player ) acknowledges that she deliberately plays into the trope as a means of attracting attention and masking her personal insecurities . Once again , generic expectations are raised in light of preceding choices only to be swiftly undermined in the following scene .
This same level of subversion is also applied to the audio direction . Almost the entire soundtrack for Until Dawn is edited in a traditional film sense : stems fitted to picture augmented with bespoke edits to run off into stems or loops driven by various game parameters , the most crucial being player choice . Music subsequently reflects the narrative branches and emotional curves to force
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