We Become What We Behold: Game Guide, Endings & Meaning

If you’ve spent any time watching playthrough videos or scrolling through gaming forums, you’ve probably seen references to a tiny game that packs a serious punch. We Become What We Behold takes about five minutes to play, but its message about media influence lingers much longer. Players control a camera, decide what to film, and watch a society unravel based on those choices. The question is: does the game actually offer multiple endings, or is that one peaceful scene the real outlier?

Developer: Nicky Case · Genre: Point-and-click · Playtime: 5 minutes · Theme: News cycles · Platforms: Web, Steam fan port

The table below consolidates the core details about We Become What We Behold from multiple verified sources.

What does the phrase “we become what we behold” mean?

The phrase suggests that the things we consistently focus on and consume shape who we become. In psychological terms, repeated exposure to specific ideas, imagery, or narratives reinforces those patterns in our thinking and behavior. Media scholars use this concept to explain how constant news consumption of conflict can make audiences more fearful and polarized, regardless of whether those conflicts directly affect them.

Origin and interpretations

The quote has roots in Christian teachings, often attributed to evangelist Billy Graham, though variants appear in other contexts as well. Some sources trace earlier versions to Kathryn Evans Heim, who used similar phrasing in academic discussions about media effects. The concept predates modern media; philosophers have long argued that what we repeatedly observe shapes our consciousness.

Connection to the game

Nicky Case built We Become What We Behold as a playable demonstration of this principle. Players photograph peaceful interactions between round-head and square-head characters, then choose which footage to broadcast. The game shows how the same events can lead to harmony or violence depending on editorial choices. As one walkthrough narrator noted, the game illustrates how the media can inflate minor disagreements into major conflicts (YouTube Walkthrough). The title functions as both the game’s thesis and its warning.

The implication: the phrase works as both a warning and a thesis statement, making the game’s title its most important design element.

Who said the quote “We become what we behold”?

The attribution is murkier than many sources suggest. Evangelical circles frequently credit Billy Graham, who used variations of the phrase in sermons about spiritual focus and devotion. However, researchers have found similar wording in other contexts, making definitive attribution difficult. The concept appears in psychological literature under different framings, suggesting it may have emerged from multiple cultural streams rather than a single origin.

Billy Graham association

Graham popularized the phrase in American religious contexts during the mid-to-late 20th century. His usage emphasized spiritual concentration: what Christians fix their attention on shapes their character. This framing differs from media studies applications but shares the core insight about attention and formation.

Other sources like Kathryn Evans Heim

Academic discussions sometimes cite Kathryn Evans Heim when exploring media effects on audiences. Her work focuses on how visual media consumption patterns influence perception. The overlap with Graham’s phrasing appears coincidental rather than derivitative, suggesting the idea emerges naturally when people consider attention and identity.

What is the plot of We Become What We Behold?

The game opens on a peaceful square-head community where round-head characters wander in. Players control a photographer who can frame any moment they witness. Early options include filming a square-head sharing flowers with a round-head—genuinely heartwarming scenes that exist in the game’s world. The mechanic forces a choice: broadcast harmony or hunt for something more dramatic.

Gameplay overview

Players use a viewfinder to select subjects, then publish their footage to a news ticker below. The society responds to what gets broadcast. Film happy moments, and the communities coexist. Focus the camera on conflict, and tension escalates. Characters begin reacting to media coverage rather than direct interactions. The escalation accelerates once players start hunting for violence—every broadcast that emphasizes difference triggers more pronounced responses.

Key events

The critical turning point involves a controversial figure—a “crazy” character—that the game introduces once players develop an appetite for sensational footage. Filming this individual and broadcasting their presence triggers societal collapse. Characters abandon normal behavior and begin attacking each other based on their head shapes. The news ticker transforms from a neutral observer into an accelerant. Players who chose peaceful filming early may notice fewer escalation options, but the game’s design pushes toward conflict.

What this means: the game’s design makes neutrality feel like a choice but ultimately eliminates it, forcing players to confront their complicity in the escalation.

What is the moral of We Become What We Behold?

The game argues that media doesn’t just reflect reality—it creates it. When editors choose what audiences see, they shape how those audiences respond. The same pool of round-head and square-head characters can produce peaceful coexistence or violent uprising depending entirely on editorial selectivity. News becomes self-fulfilling prophecy.

Media influence

Case modeled news cycles where covering conflict generates more conflict coverage. The satirical target includes cable news networks, which the game references directly through character dialogues. Players who complete the game report recognizing patterns from real media coverage: fear sells, division generates clicks, and once the escalation starts, stopping it is nearly impossible. The mechanic proves the point mechanistically rather than through dialogue.

Vicious cycles message

The game’s title names its thesis: focusing on violence normalizes violence. Media consumption shapes perception, which shapes behavior, which generates more media-worthy content. The cycle feeds itself. Players who achieve the “good” ending (by filming only peaceful moments) discover the game essentially ends early—no dramatic collapse, just quiet coexistence. The game rewards peace by being less entertaining.

How many endings are in We Become What We Behold?

The original game has one ending. Multiple YouTube walkthroughs, community documentation, and gaming news coverage consistently confirm this. Players speculating about secret endings or alternate outcomes on Steam discussions are likely misremembering or encountering false information from unrelated guides.

Endings count

Republic World investigated claims of multiple endings and found no evidence supporting them (Republic World). According to player reports, the game does not seem to have an alternate ending. The single outcome demonstrates escalating conflict that culminates in societal violence or peaceful early exit. Players seeking closure through different choices will find none—the ending is architecturally singular.

Steps to good ending

While not a traditional good ending, players can avoid the violent conclusion by filming exclusively positive interactions. The “escape” occurs early, before the controversial character appears. Players who want to see the full escalation should film at least one tense moment to trigger the conflict arc. The game lacks branching dialogue or choice-based variations—only the camera position and broadcast decisions matter.

The catch: the single ending is the point. The game argues that media cycles lead inevitably to one outcome, making the “escape” more of an early exit than a true alternative.

How to play We Become What We Behold

Getting started takes less than a minute. The game runs in any modern browser, with Newgrounds hosting the official version. A Steam fan port also exists for users who prefer that platform.

1. Access the game: Visit the Newgrounds version directly or find links through the Fandom wiki (Fandom Wiki). The Steam port provides an alternative if you prefer that launcher.
2. Understand the camera: Your cursor becomes a viewfinder. Click and drag to frame subjects. Release to take a photo.
3. Choose what to broadcast: Photos appear in a queue. Click images to select them for the news ticker below. Your selection determines what characters see and how they react.
4. Film peaceful moments early: Capture the flower-sharing scene and other positive interactions. Broadcast these to establish a baseline of calm before any tension emerges.
5. Observe the response: Characters react to the news ticker, not direct interactions. Watch how society shifts based on what gets broadcast.
6. Experiment if desired: Film conflict moments to see escalation. The game rewards exploration by showing how different editorial choices lead to different social outcomes.

The pattern: each step amplifies the consequences of the previous choice, building toward an ending that reflects the player’s editorial instincts.

“The game illustrates how the media can inflate minor disagreements into major conflicts.”— YouTube Walkthrough Narrator

“There was no good ending. The news never has a good ending. That’s the whole point of the game.”— YouTube Commentator

How does this compare to other Nicky Case games?

Nicky Case built a portfolio of interactive experiences exploring different emotional and social themes. Comparing We Become What We Behold to other Case projects reveals the designer’s range and how each game uses player agency differently.

Coming Out Simulator 2014, released in 2014, functions as a semi-autobiographical narrative with menu-based choices leading to personal conversations (Emily Short Blog). Players navigate dialogue trees rather than photographing events. The emotional texture differs significantly from the satirical media critique.

Adventures with Anxiety (2019) features multiple endings based on player success in dares, with each outcome carrying bittersweet weight (TV Tropes). This contrasts sharply with We Become What We Behold’s single ending. Players seeking Case’s branching narrative work should start with Adventures with Anxiety rather than We Become What We Behold.

Case’s broader philosophy appears in his Explorables project, which treats interactive explanations as a format for understanding complex systems (Nicky Case Blog). We Become What We Behold applies this approach to media effects, treating the gameplay mechanic itself as the argument.

Related reading: Best Time to Post on Instagram · Corriere della Sera: Italy’s Top Newspaper

Nicky Case’s poignant game captures how relentless news cycles warp society, echoing the reflection on media influence found in analyses of its profound societal commentary.

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