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Videogames are fond of constructing imaginary versions of real world locales. The Grand Theft Auto series invites open comparisons between its Vice City and the actual Miami; Call of Duty 4: Modern Warfare takes place in an unnamed Middle Eastern nation that is Iraq in everything but name; The Banner Saga‘s faux-Scandanavian setting is meant to evoke Viking era Northern Europe. Everyone who plays these games knows that the fictional places they’re exploring are only stand-ins for somewhere that really exists in the world. Because of this, it’s possible to, say, offer a new spin on the Norse sagas by breaking away from what we already know about them. It’s even possible to make commentary about the legitimacy of Coalition forces occupying Iraq and Afghanistan by abstracting elements of these nations into a single imagined one. That being said, an unwillingness to set fiction in real locations isn’t always motivated by a desire to make interesting art. In some games it may serve as nothing more than cultural cowardice.
I shot a gun for the first time about two weeks ago. I mean, I shot a real, physical gun for the first time– I’ve been shooting digital ones for years now. It was an interesting experience: one that has stuck in my head, and has made me think about my relationship with the many, many firearms found in videogames a bit differently.
I was nervous to head to the range, but I was going with a cousin who has been hunting since he was young, has a gun license, and knows how to teach an anxious novice how to shoot. Just the same, I felt like a visitor to an alien world when we bought our day passes from the front office and headed through a shop stacked floor to ceiling with boxes of ammunition. Hearing shotguns blasting at clay pigeons and rifle shots crack in uneven intervals had me stifling flinches as we drove down the path to the firing range. The body’s instinctual reaction to gunfire is probably to hit the ground or run like a maniac, but this is obviously discouraged at a professional shooting venue so I tried to keep as calm as possible. Still, while my cousin unzipped his two rifles from their carrying bags and took off their trigger locks, I was transfixed by the row of people to our left. They seemed so relaxed–maybe a bit excited, but still relaxed–as they unloaded rounds from the sort of high-powered weaponry I’d only seen in movies and games before.
Amidst all the excitement of the two new consoles launching this month, there’s a very good chance that an important article detailing some of the more deplorable aspects of the videogame industry will be quickly forgotten. The piece, ‘You Can Sleep Here All Night’: Video Games and Labor by Ian Williams, highlights what many of us who read, write, or care about the medium likely already know, but often choose to put to the backs of our minds: most videogames, in their current state at least, might be awful for the people who create and play them.
In university I had an English professor who taught a third year criticism and theory class. On the first day he handed out the syllabus with a wry smile on his face. When we looked at it we understood why. The class was broken up into lectures that steadily progressed through a long history of Western literary criticism.
This meant that we’d be spending the rest of the semester reading dense text from Horace and Longinus to Baudelaire and Foucault.
“I know that you’re probably not looking forward to the reading,” he said. “But you have to work hard at dry material to get a proper understanding of literature. My class is about doing that. It may be more enjoyable to read more exciting texts, but this semester we’re not having cake. We’re all going to have to eat our hay together.”
That turn of phrase has stuck with me ever since. In some classes the reading was pleasurable, the syllabus filled up with Alice Munro short stories and Mark Twain novels. In others, like this criticism/theory class, I spent nights trying to unpack huge ideas from intricately written essays and drinking heart-stopping amounts of coffee in an effort to stay awake through gargantuan Victorian tomes penned by Britons who were paid by the word. Just the same, by the time I graduated I appreciated what I had taken from all the effort.
I’ve tried to keep eating my hay on personal time. Since graduating I’ve supplemented a diet of “easy” fiction with bales of James Joyce, Fyodor Dostoyevsky, David Foster Wallace, and Leo Tolstoy in an attempt to keep my reading as full of nutrients as possible. I’ve also found that trying to do the same with both listening to music and playing videogames has been valuable.
Just the same, experiencing the classics isn’t always easy.
Something became pretty clear a few minutes into a demonstration of the upcoming zombie action game Dead Rising 3 at Microsoft’s E3 press conference: videogame violence is becoming increasingly disturbing. The game, a sequel to two titles in which the player uses makeshift weapons to fight through hordes of the walking dead, was used as a showcase of Microsoft’s next generation console, Xbox One, and its enhanced graphical capabilities. The new console (and its counterpart, Sony’s PlayStation 4) will be able to render environments and characters in high fidelity, offering players a greater level of realism than ever before.
The next generation of consoles will also, of course, be able to render the blood and guts common to many mainstream games in incredible detail. This, if my lurching stomach during the Dead Rising 3 demonstration is any indication, may not be such a great thing.
Epic Games’ and People Can Fly’s 2011 shooter, Bulletstorm, will likely never see a sequel. Twenty years from now when I’m an old man babbling about how videogames used to be when I was young (and things were better, goddammit) the young kids will probably never know that there was ever something called Bulletstorm. They will think me a sad, over the hill geriatric who lives in a world of confused nostalgia where a massive publisher like Electronic Arts would take a chance on a strange, colourful and crude little shooter that was so atypical of the videogame landscape at the time.
It did happen, though. Bulletstorm was created, marketed, released and, in its own modest way, purchased. And in its reality there are many lessons we must take away from its lack of success — from its inability to change the way that first-person shooting games were made and bought in and around the early 2010s.
Read on, savvy industry folks and ensure that you never make the same dreadful mistakes that sank the foul-mouthed shooter that could.
Over time most non-Native North Americans, born in the continent after generations have eroded the lines of their family immigration, come to realize that the place they call home is not really their home at all — that it is in fact land stolen from the people indigenous to it. This, for me at least, was a pretty unsettling revelation. As children, none of us fortunate enough to be born in politically stable nations think much about whether or not our country truly belongs to us. We Canadians sing an anthem that subconsciously reinforce the idea the nation is “our home and native land” and only when we’re a bit older and wiser do we understand just how stomach-churningly ironic such a lyric is.
How do we deal with this?
The bear came closer, obviously angry. Perhaps I shouldn’t have shot it with an arrow. I dismounted and backed away, but my horse was oblivious and stayed directly in the path of the bear. Claws slashed, hooves flew, and there was a terrible cry from above the clouds. A dragon landed in the middle of the scene. I could only stand in shock as my horse, the bear, and the dragon all fought each other.
Thankfully my horse won.
This is an article that I originally wrote late last year, but that fell through the cracks for some reason or another and never saw the light of day. Aside from dated references to the 2011 Spike VGAs, I think it’s still relevant and worth sharing. I’ve made tiny little revisions and expanded on a few points, but left it alone otherwise.
The 2011 Spike Video Game Awards (VGAs) was a ceremony that celebrated pretty much everything awful about videogame culture. The parade of mock teabaggings, awkward celebrity endorsements and gleeful misogyny were all bad enough on their own, but what troubled me most about the VGAs was how all of this was aimed at a supposed subculture of “gamers.”
We, the people who love games, have done this to ourselves.