Archive for category Reid McCarter
There’s something nearly sacrilegious about trying to describe the sensations involved in moving through NaissanceE‘s world. It is a game of measured exploration–of private, lonely introspection. Whether squeezing past low openings in piles of cube-shaped rubble or dropping from one barely visible precipice to another down an enormous grey-scale pit, the pace of understanding and navigating the game’s bizarre architecture is slow. And because NaissanceE‘s setting is comprised of such unearthly sights and sounds, the time it provides for personal reflection often leads the player’s mind to strange, numinous places where awe and terror commingle.
I first played The Legend of Zelda: Ocarina of Time when I was 12 years old–still very much a child. It was the first Zelda game I went through on my own, which was a very different kind of experience than trying and failing to penetrate the 8-bit dungeons of the series’ debut one week at a cousin’s cottage. Ocarina of Time, its colourful world rendered in (what was then) astoundingly full three-dimensions, was a more inviting kind of adventure. Its version of Nintendo’s grand monomyth dropped the player in a land where strange fantasy creatures and secret temples hid beneath placid lakes, behind cracked stone walls, and on plateaus that hung just out of reach overhead. Exploring and uncovering this world was the draw back in 1998.
Now, returning to it almost 20 years later, Ocarina of Time feels like a different game, appealing for very different reasons. After brushing away the cobwebs of nostalgia that covered the first few hours, Link’s journey to save Hyrule (yet again) from the evil Ganon+ is filled with less of a sense of environmental mystery–it’s tough to see beyond the mechanical framework of the world design as a grown-up–than a bit of commentary on the process of growing up.
After months of sorting through (largely excellent) submissions and dreaming up unbelievably exploitative contracts for our lovely contributors to sign, Patrick Lindsey and myself (Reid) are finally ready to announce SHOOTER.
SHOOTER is an ebook that digs into the wide array of meaning we find in first-person shooters, whether through gameplay construction, mechanical subtext, or the larger implications of a game’s setting, characters, and themes. Rather than a history of the genre, SHOOTER is a collection of diverse criticism centred on various games where shooting is the primary gameplay mechanic.
The book’s writers have offered unique viewpoints on the games they’ve chosen to analyze and discuss. Our hope is that, taken as a whole, SHOOTER will provide a broad picture of how different people react to an immensely popular and culturally influential style of play.
In the near future, we’ll be posting a table of contents that provides a full list of the games discussed by SHOOTER‘s writers.
SHOOTER is set for release in early 2015.
Reid McCarter is a writer, editor, and musician living and working in Toronto. He has written for sites and magazines including Kill Screen, Pixels or Death, Paste, and The Escapist. He is also editor-in-extremis for videogame site Digital Love Child. He tweets tweets @reidmccarter.
Patrick Lindsey is a game critic and occasional developer whose work can be found on Polygon, Unwinnable, and Paste. He co-founded Pixels or Death and co-hosts the Indie Megacast. Read his tweets @HanFreakinSolo, if you dare.
There’s a brief, computer-generated video that plays after The Witcher 2: Assassins of Kings‘ credits have finished rolling. In it, a rural man collects wood in a forest glen. He spots a rabbit hopping through the brush and following a (much appreciated) fade to black he heads back home with the now-dead animal hanging from his belt. As the man starts to cross a wooden bridge he hears the thunder of approaching horse hooves, and a group of mounted knights in black armour ride pass him. The man hurries onward to his village only to find it burning and a sea of troops marching toward it from across a river valley. The game pulls out from the scene to show a map of the area and the sweep forward of the invading Nilfgaardian Empire’s army. Coloured a menacing black, the Empire’s borders extend upward to swallow the regions to the north of it, shading their multicoloured nations with darkness.
This moment sounds innocuous outside of the context of the game–it’s one fantasy nation taking over another. Those who have played through the previous twenty-odd hours of The Witcher 2 and invested in its fiction are more likely to understand the dramatic import of the moment, though. Players who think back on the history of Poland–the home of CD Projekt RED, the game’s developer–may react even more strongly.
I don’t like camping. For the longest time I felt like I was supposed to because, I mean, there are a lot of things about hanging out in the woods and fending for yourself that are immediately appealing. Building a bonfire, constructing shelter out of a bag of loose poles and canvas sheets–these feel like decent enough accomplishments when we’re more used to the convenience of sleeping in beds and adjusting thermostats to meet the same basic needs. But, after one night in Cape Breton a few years ago–one night I remember most for its awful heat, clouds of black flies biting at my face, and skin made sticky with layers of ineffectual mosquito repellant–I allowed myself to admit that I’m too accustomed to the easy life to get much enjoyment out of camping.
Just the same, I’m fascinated by the wilderness. I stand out on a cottage deck, looking at the lakes and dense forests of Ontario and I still think about how I’d do at fending for myself out in the wild. I know it wouldn’t go well, but it doesn’t stop me from wondering. Maybe, if the stakes were high enough, I’d get past my discomfort and figure out how to make a lean-to and catch food. I’m one of many people, soft-palmed from a life spent living in towns and cities and typing on computers for a living, that subconsciously assumes–despite all evidence to the contrary–that I still know how to survive like our common ancestors. I don’t think I’m alone in this.
Apocalypse stories are as old as humanity itself. From the Norse Ragnarok and Sumerian flood myths to the centuries of religious doomsday watchers, people from across the world have long maintained an obsession with the end of days. In the postwar era, these stories have only become more common. The incredible destruction of the First World War, the nuclear detonations that obliterated Nagasaki and Hiroshima, and the impending devastation threatened by the Cold War standoff not only demonstrated that the annihilation of entire national populations was possible, but also that it was–and still is–downright probable in the event of renewed global conflict.
It isn’t surprising, then, that the last sixty-odd years have seen a widespread revival of fiction centred on the end of the world. Our species has attempted to come to terms with the inescapable possibility of our complete destruction–something that could happen, really, at just about any moment–by doing the only thing humans can be counted on to do: rationalizing an idea too large and frightening for us to easily comprehend. Rather than lose ourselves in existential despair at the incredible notion of the complete breakdown of our world, we compartmentalize this overwhelming anxiety through art. Post-apocalyptic fiction, probably the most popular example of this tendency, allows us to cope with enormity in the same way that apocalyptic myths helped our ancestors force narrative order on the unknowable vastness of a mysterious reality not yet made sensible through scientific discovery.
This attempt to impose logic on essentially disordered concepts is at the centre of all of these stories. The dramatic tension always results from this very struggle between control and chaos; order and the complete absence of it. It is especially clear in Naughty Dog’s The Last of Us, a game that uses its ruined world and two main characters to explore these themes.
[This article discusses plot details from the entire game, including the ending.]
There are enormous moments in every medium that fundamentally change its future. The Cubists start painting in a style that reinterprets visual perception; Woolf and Joyce defy grammatical rules to allow readers inside the minds of their characters; Bebe and Louis Barron compose a film score made entirely with electronic components. In most cases the birth of new movements is incremental, the process of one artist influencing another taking place gradually until, before anyone has really realized it, everything has changed. Videogames, though, are an intrinsically technological medium that has seen its greatest leap forward come as the result of widespread internet connectivity. All of us–players and developers alike–can pretty much pin down when the zeitgeist started to shift–when digital distribution made it possible for smaller and weirder games to hit the mainstream. It’s easy to forget just how much of shake-up this time was, and how massively a handful of hyper-successful indie titles from the late aughts influenced developers-to-be.
Basically, this is all just a roundabout way of getting to Nowhere Studios’ Monochroma, one of the clearest examples of a game made in the shadows of giants like Playdead’s Limbo and Jonathan Blow’s Braid.