|
|
This April was a religion-themed month over at videogame blog The Ontological Geek. I wrote the final article in the series, and mused a little on how concepts of religion, God, and particularly The Holy, can be incorporated into videogames. For perhaps obvious reasons, it’s easy for games to tackle and represent the more mundane sides of religion and faith, but they seem to struggle somewhat when it comes to matters more transcendent. In “Sanctifying Games”, I try to explore why that might be. [...]
It is a discussion that crops up from time to time: what is a game? This would be a fairly academic definition question, were it not that it finds a much larger battleground mostly outside academia, where consumers and critics of video games are the participants. The direct catalyst for the most recent iteration of this discussion was the release two days ago of Proteus, a game developed by Ed Key and David Kanaga. This work, as I briefly explained in my piece on Noctis, is all about free exploration of an island and its flora and fauna, about building a soundtrack by moving around. It is limited in its interactivity compared to many other video games, and this has sparked the discussion on whether or not Key and Kanaga are right to refer to Proteus as a game. [...]
During my time as a student of language, I’ve become convinced that there is no direct one-on-one connection between thought and speech, and between logic and language. This is one of the reasons why communication between people doesn’t always go according to their intentions. This is sometimes obvious in real life, but it can also become highlighted in art. In videogames, communication as a central theme—rather than just something that happens—is a rare thing; however, in a recent article I’ve highlighted two games that do focus on the possibilities and impossibilities of communication. Surprise, surprise… it’s two works by Tale of Tales. First of all, The Endless Forest, about which I’ve written before here, and secondly Bientôt l’été, their latest title. [...]
Remember Groundhog Day? It’s that 1993 film about Bill Murray’s character, Phil, who keeps reliving the same day, February 2nd, in the Pennsylvania town of Punxsutawney, where on that day, the groundhog Punxsutawney Phil will predict when winter’s going to end. [...] It’s an awful lot like the way we tend to play video games these days. Faced with challenges in a game, we have the quicksave and quickload buttons close at hand, ready to revert to an earlier point in the game to try again. If you get to replay a section of a story over and over again, any challenge inherent in the original situation quickly morphs into a matter of trial and error. Like Phil in Groundhog Day, we get to try out every interaction, every conversation option the world allows us. More importantly, in a typical collapsing together of character and player, Phil – like us – retains (meta)knowledge of everything he did earlier. [...]
Videogames can sometimes be a very arcane medium, and it can often be difficult to comprehend what they’re all about for people who never or seldom play them. Of course entertainment is often the main ‘use’ of a video game, but many of them have elaborate themes and stories, and the way in which video games deliver those narratives and themes is often unique to the medium. Today my own piece on Planescape: Torment was published, and I try to explain how the game uses exploration and conversation to allow you to reconstruct the protagonist’s tortured past. [...]
|
|
Recent Comments