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.]
Continue reading The Last of Us, Chaos, and Control
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.
Continue reading On Guns, Real and Virtual
“Videogame,” as a descriptor, is a bit problematic. It’s a compound of two words that, apart, don’t do a whole lot to encapsulate the medium. When smashed together they do even less to sum up the wide range of experiences that playing videogames can offer. In some ways none of this matters: a catch-all term is easy enough to ignore in most cases and only really shows its shortcomings when the boundaries of the medium it’s used to describe start to expand.
Unfortunately this is exactly what is happening with “videogame,” a word with a definition so vague that those who interpret it a certain way (games, from Tag to Monopoly to Halo are meant to be, above all else, fun) take issue with titles that don’t feel the need to offer a traditionally enjoyable experience. People who believe that videogames must always be fun haven’t had many reasons to question their vision of the medium until recent years. Now the rising influence of indie developers has begun to alter mainstream titles in significant ways. This process will continue to broaden the established definition of videogames to such a degree that the importance of fun as the ultimate goal of creation can be called into question.
That long introduction is all to say, basically, that playing Naughty Dog’s post-apocalyptathon, The Last of Us, made me wonder what, exactly, I want from a game.
Continue reading Games Don’t Always Have to Be Fun
The general consensus seems to be that Uncharted 3: Drake’s Deception is a bit of a letdown when compared to Uncharted 2: Among Thieves. I suppose there’s a whole, gigantic article to be written about why this will always be the case with sequels of sequels (and on and on) but, to be honest, I feel like I’ve been banging on about that kind of thing in a column I write long enough. Instead, I’d rather try to talk a bit about a problem with Uncharted 3 in a a different way.
Continue reading Uncharted 3: Drake’s Unapologetic Killings