What’s up, fellow crit enthusiasts? If you’re looking for Easter candy, you’re a week too early, but we’ve got plenty of goodies from a slew of amazing writers to keep you content until then. So, welcome to This Week in Videogame Blogging!
What It Means to be Indie
Luke Pullen reacts to Offworld’s printing of Zoe Quinn’s Alt Games manifesto with jubilation for its recognition and a pessimism of historical sorts for how its artists cope in the future. On Gamasutra, Bryant Francis says “Let Get Real about the Financial Expectations of ‘Going Indie’:
“‘In another industry, we’d have labeled the folks making games on new digital platforms as ‘entrepreneurs,’ but because of the rush to be ‘art,’ mere discussion of business takes on a negative tinge. The result is a lot of very poorly-equipped folks trying to run businesses for the first time.’”
Over at TransGamer Thoughts, Heather Alexandra talks about the lack of empathy dealing with the emotions and fears of trans people in games. Soha Kareem discusses “Games That Heal” at Offworld, noting how her work, and others of a deeply personal thread, facilitates a coping method for indie artists.
Trauma, Transcendence and Mental Illness
Bouncing off that last one, let’s dive into a few articles peeking under the curtain of themes of illnesses and healing. On PopMatters, G. Christopher Williams describes how mental illness in White Night allegorises American economic inequality, and At Madness and Play, Amsel Von Spreckelsen discussed the treatment of mental health in Darkest Dungeon:
“It is mired in decades-old RPG design and all that the automation of putting it on a computer does is make the bookkeeping easier; and when mental health becomes relegated to a bookkeeping exercise, when the advances are based on more efficient crunching of variables and modifiers, then it should be clear that this does not help us understand pain and dysfunction and joy and the life that you lead when you are mad.”
Back at Offworld, Laura Hudson talks VR’s applications for immersion beyond marketing. Meanwhile Dara Khan, delves into profound spiritual experiences with games, and finds Dragon Age: Inquisition’s story at odds with its gameplay.
Laura Kate recounts a deeply personal trauma on Indie Haven, one resurrected by a scene in Life is Strange: Episode 2. (Contains discussion of suicide. Also, spoilers for Life is Strange: Episode Two)
Joe Parlock, inspired by Laura Kate’s post, tells of how his own feelings blinded him to an option in Fallout 3, and elsewhere, Taylor Hidalgo tackles morality in The Deer God.
Mapping Out Our History
Over at the Ontological Geek, James Hinton wrote about how game maps tend to ignore practical implications for interesting design in land masses, and Brendan Vance’s “The Ghosts of Bioshock” reflects on the Wounded Knee massacre of the Sioux and the framing of history in Bioshock: Infinite:
“On one hand I feel [Bioshock: Infinite] appropriates: It snatches the juiciest, tenderest piece from a complex and valuable history so it can put that piece on display, neglecting to offer its historical subjects their due consideration. I think it telling that the game’s plot reduces the Massacre to a mere skeleton in the closet of its protagonist Booker DeWitt; I think it tells us that Infinite is a game about white experiences to the detriment of non-white experiences, greatly complicating any sympathy it may bear towards the myriad victims of white imperialism. Yet on the other hand I must consider in its defence that it uses Wounded Knee as shorthand because that is the most its matrix of contradictory constraints permit it to do; that in employing this shorthand it creates a tiny space for others to approach the game’s subject matter with more focus and more empathy (a space I now hope to cultivate).”
On Offworld, Tanya D. gives developers a reason to be historically accurate by including more black characters and less stereotypes:
“Even Vivienne de Fer, who gave me so much hope initially, disappoints. She falls head over hennin into the “Strong Black Woman” archetype from the moment she’s introduced. She’s a supposed “ice queen,” an untouchable woman who’s too good for the plebes around her. She says “my dear” like some women say “bless her heart,” and her words cut sharper than any spell. Any flirtation attempts result in her putting you down, emphasizing her own unattainability. Why can’t she just be a black woman with the romantic and relationship quirks we all have?”
But what if we couldn’t choose race in games? What if race were parceled out at random?
Battlefield Hard Sell
Battlefield Hardline came out last week, and with it so did plenty of interesting writing. Let’s start with Austin Walker’s “Cop Out”, which takes Hardline to task in an incredibly thoughtful review:
“And so Battlefield Hardline speaks to our context, too (whether or not that’s what the developers would like). It speaks a politics even as it flails in the single player campaign, desperate to avoid saying anything about the dead black boy on the pavement—about 75 unarmed black bodies on the ground. It flails in the multiplayer, eager to wave aside any critiques of police militarization. It flails and flails and flails. And the flailing is the message.”
Carolyn Petit, too, takes on Battlefield: Hardline, both on KQED and Tumblr, finding its mechanics shallow and its themes underwhelming.
Meanwhile, Marc Prices believes Battlefield deliberately avoided social issues by disguising itself as a cop procedural, and our own Mark Filipowich explores his thoughts on crime gleaned through invoking literature, film and TV:
“The player does all the friendship building questing that would be expected of an RPG, but it does so in the context of an urban world: they only have power with access to electricity, the internet, social conventions, architecture and guns; the power’s domain is the city and the city is everywhere. Most of the game the player takes on errands for cash, selling their bodies into violent labour to undermine the big-bad. And yet, the existence of magic always provides hope. As miserable as things may seem, there is a force beyond the city that promises equilibrium.”
Finally, Anthony McGlynn at The Arcade talks “Battlefield Hardline and Politics in Games“…
Politics as Usual
“Games are engines of persuasion, and despite some common rhetoric that disagrees, they are delicious morsels of politics. They’re drenched in it, marinated in it, and just because it tastes good doesn’t mean it’s all ok. And the politics of Cities:Skylines is that education is the easy answer.”
Keza MacDonald at Kotaku UK reacts to the strange desire to keep politics out of fiction:
“It also makes me monstrously uncomfortable, because in a former life I was an academic (I did a Masters in German and another in Comparative Literature before ducking out of the first year of a PhD to do this video game thing full-time), and every time I see language like this it kinda reminds me of the Nazi attitude to art. They very much took the view that art should be “apolitical”, which of course eventually resulted in the extermination of all the art that didn’t fit THEIR politics. I feel like anyone who’s ever read anything about Entartete Kunst couldn’t help but feel deeply troubled by the notion that art “should” be unpolitical.”
Whose Category is it Anyway?
Just because I failed to properly categorize the following doesn’t mean they aren’t compelling in their own right. Just look to Jorge Albor, who plays Earthbound as an adult and finds it a compelling piece of children’s literature:
“Playing Earthbound now, it is easy to find moments of satire, when the game criticizes the strange and mysterious elements of adulthood. At the Stoic Club in Summers, Ness and his friends encounter a room full of adults who have meaningless verbose conversations with each other. One denizen exclaims, “You guys can’t envision the final collapse of capitalism? Incredible!” This isn’t just a silly in-joke for adults. This is the “kids’ table” perspective of adult conversation. Earthbound is the closest piece of fiction that I have seen to induce the feeling of being a child.”
In keeping with Brendan Vance’s “death and photography”, Rowan Kaiser re-articulates his 1UP article, “The 80 Most Influential Videogames of All Time”, and Doom still tops the list, while Jillian of FemHype elaborated on her love for the original Lara Croft:
“While her clothes were laughably ill-suited for raiding caves and deep-sea diving, the Lara from the earlier Tomb Raider installments was never a pawn to be neatly directed by the hands of the men she encountered in-game. That Lara faced some pretty tough shit, too. A couple hundred cultists armed with guns and grenades? Pfft. Oh, please. The original Lara faced down a t-rex with only two pistols and lived to fight another day. Don’t even play, folks. She’ll mess your dinosaur ass right up.”
Auke Peters listed “Ten Fierce Female Game Characters That’ll Blow Your Mind”, and yes, Lara Croft is in there.
Last, but far from least, we have some video for you by way of Innuendo Studios, “Who Shot Guybrush Threpwood“, giving a compelling explanation for why adventure games died and why that was a good thing.
If Every Pork Chop Were Perfect, We Wouldn’t Have Hot Dogs
Welp, that’s it folks! Thank you for reading, and please continue to support and send us underappreciated voices; whether it’s your work or a writer you’re keen on, send it via Twitter mention or our email submissions form.
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