In Defense of The Order: 1886

Preferences are an extremely interesting concept to me. Evolutionarily, there is no reason for humans to really develop a desire for one thing over another, yet nonetheless, each and every person has unique tastes in regards to food, music, clothing, and especially video games. I’ve lost track of the number of discussions I’ve had explaining why I don’t like games like Fallout 3 or Portal. One game I will defend, however, is The Order: 1886. I’ve gotten quite some flak from my friends for enjoying this game, but I feel that many of the criticisms towards it are overly harsh and a product of sensationalism.

Hype is the great game killer. Overhype is what ruined games like Destiny and Watch Dogs. Constant advertising and build-up of an unreleased game creates expectations, and often times developers make promises in announcements that they cannot live up to upon release. The Order’s fall was primarily due to the former. Developer Ready at Dawn claimed that their new IP would be a showcase of what is possible on the then-new Playstation 4. Showing off stunning visuals and the potential for a new universe of stories, it was the fans who began to expect too much from the game. Many people I spoke to said they were expecting a long-form third-person shooter, a la Gears of War. It was never fully stated what the game would be, but players wanted to fill in the gaps with what they wanted out of the game and, when released, their individual visions fell short of the final product.


One of the main complaints I’ve heard about The Order was its $60 price tag on release, which is too much to ask for a game that is as short as The Order. That’s completely fair and valid; asking people to spend $60 on a game is a lot, and players want the most value for their dollar. If a game doesn’t reach a certain length of playtime, one can feel ripped-off. I can understand people’s complaints in that regard. What I cannot understand is why people claim it is not a good game because of its short length.

Games are no longer about racking up points; they involve immersive stories and experiences that get the player to think about what they just played. Bioshock Infinite and The Last of Us did not have groundbreaking new types of gameplay, but they’re so well received because of the emotional journeys they bring us on. Journey can be completed in just over an hour, but people play it because of the pilgrimage of discovery and wonderment they embark on. A game does not need to be innovative or long-form to be successful, so long as the experience itself is enjoyable. And The Order is an enjoyable experience. The alternate-history story is engaging and imaginative, the graphics are incredible and push the limit of the types of visuals we can create today, and the gameplay is fun and fast-paced. What The Order does, it does extremely well.

The Order did what any launch title should do: establish the power of the system’s hardware, set up and deliver a new game experience, and leave open the possibilities of what can be done by developers in the future. Galahad’s quest to rid Victorian London of werewolves did exactly that. Lack of replayability and inclusion of quicktime events do not make a bad game in and of themselves. A bad game fails what it sets out to do, delivering to the player an unfinished, incomplete, and broken experience. By that definition, The Order is not a bad game. It did everything it sought to do, and did it well, and I’m looking forward to what Ready at Dawn brings us next.

Originally published at Top Shelf Gaming

Memories of the Grey: 2014 in Gaming

Well, a year has come and past, and as always, a slough of video games have been released. Some were great, some were followed by controversy, and some have made impacts on people in the strangest ways. I always fondly look back on some of the memories of gaming I have in a given year, but as the calendar pages fall, it gets harder and harder to remember those recollections of the past. This is why I want to record some of my thoughts on moments in gaming that have impacted me. In no particular order, with no particular amount, these are some of my favorite moments of 2014.

[WARNING: Minor spoilers throughout]

Making Friends in Buttland

The Animal Crossing franchise is one of my favorite series. Not only is it an entertaining life simulator, it taught me a lot of important life lessons growing up, including keeping promises, being a responsible homeowner, and being a courteous and friendly neighbor. When I finally got a 3DS, one of the first titles I picked up was Animal Crossing: New Leaf, the newest installment to the series (yes, it took me nearly two years to get it; that’s why I’m putting it in this article). But the villagers made a grave mistake: they put me in charge of the town! I would become the mayor of a new town, one I knew nothing about, and it would be my responsibility to take care of the townspeople and cultivate the town and turn it into a major metropolitan center. So, of course, I made it my first task as newly-elected mayor to name the village Buttland. Who wouldn’t abuse power like that? Although our name is laughable, the townspeople are as cordial as they were in the original GameCube version I played fourteen years ago. And with the new features added in this release, including customizing the town with new construction projects, I can give back to the villagers who have helped to enrich my understanding of gaming beyond a form of entertainment.

Making Enemies in Mordor

When I first heard of Middle-earth: Shadow of Mordor, I thought nothing of it, remembering the last time I got excited over a Lord of the Rings game. But as the reviews came in, it sounded more and more intriguing, until I finally relented and picked up a copy for my Playstation 4. Needless to say, I was immediately blown out of the water by how good the game was. The controls were extremely tight, making it satisfying to take on legions of uruks at once; the amount of content kept me playing and exploring Mordor and Nurnen for all of the hidden artifacts and weapon upgrades; and the story was involving and interesting, putting me in control of the Gondorian ranger Talion and his connection to the elven wraith Celebrimbor. The coolest part of the game, however, was the Nemesis system that was developed for it. In short, each and every uruk you come in contact with has his own strengths, weaknesses, and personality. If you’re killed in battle, the uruk that killed you rises in the ranks of Sauron’s army, and each injustice you commit upon the uruks is remembered. It’s a great way to constantly build new conflicts for the player and keep him or her involved, with a non-stop cycle of revenge. No matter how many uruks the Black Hand sent my way, my blades were always ready to meet them.

A Telltale Heart

Honestly, Telltale is probably my favorite developer at the moment. I grew up playing point-and-click adventure games like Day of the Tentacle and The Curse of Monkey Island, so when the original The Walking Dead game was announced by the same company that made the Back to the Future and Sam and Max episodic series, I was intrigued by the concept of a story-heavy game that changes based on how you play it, very much like Heavy Rain. Admittedly, I’m not a fan of The Walking Dead comic books or TV show, so I didn’t pick the game up when it came out, but as more and more praise for the game came to light, I decided to purchase the first episode. And then the second. And then the entire first season. I won’t lie, I cried for a solid ten minutes at the end of the first season. It was that good. So color me excited when Telltale, the same company that released one of the few games that have ever made me weep, released FOUR story-based games throughout 2014: The Wolf Among Us, Tales from the BorderlandsGame of Thrones and the second season of The Walking Dead. And you’re goddamn right that I’ve played each of them and enjoyed every single episode. It’s rare for a company to release two different games in the same year, let alone four excellent games, and each of Telltale’s releases have been extremely entertaining and emotionally investing. I can’t wait to see what else they release. Except for Minecraft: Story Mode. Fuck that.

Five Nights Crapping My Pants in Fear

Have I ever mentioned that I hate horror games? No? Well, let me make it perfectly clear: I fucking hate horror games. Jump scares and frightening atmosphere really do not tickle my fancy. That doesn’t mean I don’t enjoy a good horror game every now and then, but it means I have to sprinkle plenty of kittens in between each sessions as eye bleach. That being said, Five Nights at Freddy’s is a great example of a game that achieves both the tension of the upcoming jump scare with the additional benefit of a creepy tone. Every moment, you wonder if you’ll be attacked by the animatronic nightmares that infest the rundown Chuck E. Cheese’s knockoff, or whether having both doors closed with 3% battery life is enough to survive those extra few second to 6:00am. One of the craziest aspects of this monstrosity that some people consider “entertainment” is how well the story is integrated into the environment, with hints and clues dropped throughout without explicitly revealing the true nature of Freddy Fazbear’s Pizza. The creator, Scott Cawthon, was even able to turn around and produce a sequel equally as terrifying only three months after the original’s release; he’s even working on a third iteration of the series at this very moment. Maybe playing these will help to calm my nerves and play horror games with a relaxed attitude in the future. Or they’ll bring nightmares. Probably the latter.

Kojima, You Evil Genius

I know I just got through with saying that I hate horror games, but I was, at the very least, titillated by the notion of a game co-directed by Guillermo del Toro and Hideo Kojima. So when it was revealed that the rather curious and mysterious PT was actually the two’s teaser for a new Silent Hill game, you can guess what my reaction was. Entitled Silent Hills, players will take control of Daryl Dixon and explore a town and subconscious haunted by the sins of the past. Even though I normally don’t enjoy horror games, I decided to download the playable teaser anyways, as I love del Toro’s directing style and Kojima’s mad-scientist approach to game design. Needless to say, I had to put the controller down a few times for fear of shattering it in my hands as I screamed in terror. The game, or rather, teaser, was legitimately one of the scariest experiences I’ve ever had when playing games. Yes, even more frightening than the aforementioned Five Nights at Freddy’s. It was sanity-breaking, filled with cryptic puzzles and annoying solutions. But you know what? I enjoyed it. This was a horror game that I honestly can say that I had fun playing because of the sole fact that it is a teaser; it’s a demonstration of the direction and tone that Kojima and del Toro will explore in the final version of the game. The gameplay and story may not be indicative of the final product, but if Silent Hills is as good as PT, then I’ll be picking up a copy right after I buy a new load of toilet paper.

Returning to the Apocalypse

Anyone who knows me knows that I love The Last of Us. When I initially picked up a copy of the game, I sat down and progressed non-stop through the nail-biting, heartstring-pulling, incredibly scoped post-apocalyptic adventure. It quickly rose to become one of my favorite games of all time due to…every element. Everything Naughty Dog accomplished in the game seemed to push the boundaries of what video games can do. So when a remastered version, with 1080p resolution and enhanced textures, Photo Mode, and the Left Behind DLC included, was announced, I knew I had to add it to my newly-formed collection of PS4 games. Now, I want to quickly address my thoughts on remastered games: I think they can be a good thing, when the developers make much-needed improvements and additions that really make the experience worth the price-tag. Often, however, remastered games can be released that detract from the impact of the original game, so I’m usually wary of remakes. The Last of Us Remastered is a masterpiece of a remake, as the developer’s goal of maintaining the core experience of the original game was achieved.

Who is that dashing man in the green flannel? Is that Troy Baker?

Yours truly as Joel, joined by the lovely Tess and Ellie.

The World Plays Pokemon

I haven’t picked up a Pokemon game in a long time. I was a fan of the trading card game and the anime, but I was rather young and not as enraptured by video games when the original Red and Blue were released in North America. I picked up the games later and enjoyed them, but I do not often go out of my way to play the newer titles; I don’t care what anyone says, there’s an inordinate amount of ridiculous pokemon in every generation. Yes, there is a keyring pokemon now, but many people also forget about Magnemite and Exeggcute. But I digress. The reason I bring up Pokemon is because of its continued popularity throughout the years, so much so that an anonymous Australian programmer wrote a code that allowed user inputs from the streaming website Twitch to control the game. That’s right: the audience would be able to control RED in his journey to become the Master Trainer of Kanto. Of course, this led to trolls and sadists alike to impede progress when possible, as well as fans creating an entire culture and mythology around it. Fake religions were created around the fossil pokemon Omanyte (praise be unto Lord Helix) and Kabuto, wars declared over the Anarchy/Democracy mechanic, and an entire subculture was formed around one programmer’s dream to bring the world together, and simultaneously tear it apart, over a game.

Rise of Glitches

Never change, Sonic. Never change from the strange and often broken games, with diametrically-opposed mechanics and abundant glitches, that we’ve come to know and…love is a strong word, actually. Honestly, I’ve never understood how Sonic survived all of these years. He’s the only gaming mascot I know who is popular primarily because of his, admittedly genius, design. Many of Sega and Sonic Team’s previous attempts to revitalize the character have been rather…well, see for yourself. Perhaps rather intelligently, Sega worked with BigRedButton to reboot the franchise into a new series of games and a television show. The result was Sonic Boom. I mean, the new character designs were interesting and BigRedButton was started by former members of Naughty Dog, so how bad could the reboot be? …oh, that bad. The game was filled to the breaking point with repetitive combat, poorly-written dialogue, and near-constant graphical and gameplay glitches. Some speedrunners even figured out, using a recently-repaired glitch involving Knuckles’ jumping mechanic, how to beat the game in less than an hour (shown above). Sonic will always have a special place in my heart, right next to the soul-crushing void left there by my ex-girlfriend. Sonic Boom: Rise of Lyric affects me the in same way that she-devil did, too: hooking me in with a cute look and promises of hours of fun, leading to a broken mess that could only be ended with my sanity no longer in tact. Rest in peace, Sonic.

A Real Dragon Age Redemption

dragon age

My relationship with the Dragon Age series has been rather hot and cold (hot like dragon’s fire, am I right?) I immensely enjoyed my experience with Origins, albeit with minor complaints throughout that ultimately did not detract from my experience with the Bioware callback to adventure games. Dragon Age II, however, was a thorough disappointment in nearly every aspect. Unlike Rise of Lyric, it was at least free of glitches, but the cardboard characters, the repetitive combat, and the abysmal graphics did not convince me to continue being a fan of the franchise. So when Dragon Age: Inquisition, the third part of the series, was announced, I was obviously quite wary. I shuddered to think of the broken or tedious game that I thought was sure to be released. Color me surprised, then, when reviewers unanimously joined together to praise the Maker and chant devotion towards Inquisition. Deciding to return to Thedas once more, I cautiously placed the disc into my PS4 and, almost immediately, my worries were washed away like the Temple of Sacred Ashes was in that opening explosion. Thedas felt truly realized in this game, with large and open segments brimming with hidden secrets and details just waiting to be explored. Each character was intriguing, interesting, and entertaining (especially Sera), with character motivations and personalities that ran deeper than the surface level; I’m looking at you, Sebastian Vael. The gameplay was the right balance of strategy and fast-paced action that was attempted in the previous games but never truly perfected until now. If I was told three years ago that Dragon Age: Inquisition would be my favorite game of 2014, I would call myself crazy (I do call myself crazy, but that’s neither here nor there). That being said, Inquisition was easily the best game I played last year and I find myself returning every now and then to see how the Inquisition is managing the newly-repaired world.

Gaming has certainly been an interesting experience in 2014. With titles like The Order: 1886Code Name: STEAM, and The Witcher 3: Wild Hunt, 2015 is shaping up to be equally as interesting. Until next time, and remember:

This Is The End…Of The Year

A semester at school has come and gone. I’ve spent a lot of time gaming, sure, but as is evidenced by this blog, I’ve also spent a lot of time learning not only about the industry, but on how to really convey arguments and opinions in an interesting manner.

The gaming industry is fast-paced and constantly changing. Information about video games, whether about software, hardware, developers, or publishers comes comes out every single day. In order to meet this demand for info, websites need to constantly update and post the info. Of course, websites will also publish opinion pieces, but the reason we visit these websites is to find out more about the industry we know and love. Writing for this blog and learning how to research about the industry has taught me the importance of weeding out the factual or the intriguing, from the false and the boring. Even making a few posts here and there throughout the semester has really shown me the difficulty of being a journalist.

Games, much like blogs and news websites, make arguments of their own. Whether making metafictive arguments or bringing people together through online communities, gaming has improved and entertained the lives of many. Even the many numerous problems in the industry have helped to evolve gaming for the better. They teach us about critical thought, morality, teamwork, and, most important of all, gaming has entertained us.

More than movies and books, gaming is immersive entertainment because of its interactive nature. It makes us active in a story-telling, problem-solving, and sense-stimulating adventure all written on a disc or a cartridge. Gaming has taught me so much, and not just by playing, but by writing about them, too. New Year’s resolutions are often never truly accomplished, but I do want to make it my goal throughout the next year to post more blog entries, expand my critical and rhetorical argument abilities, and continue to immerse myself in the industry I love.


It is a common assertion that people are afraid of change. Why try something new and potentially uncomfortable, when you can stick with what you know? Unfortunately, this type of mindset impedes progress. Without change or new points of view, our perspectives stagnate, and culture suffers because of it. The video game industry is currently undergoing a similar type of change, albeit in a controversial way. This change is the GamerGate movement.

What is GamerGate?

GamerGate is a movement made to combat unethical video game journalism. The supporters believe that the journalistic side of the game industry is corrupt, relying on inter-personal relationships for praiseworthy reviews. However, an overwhelming majority of detractors state that the movement is built on foundations of misogyny, fighting against a diverse gaming community.

The movement was given its name by actor Adam Baldwin, who, on August 27, created the hashtag #GamerGate when posting links to videos by Internet Aristrocrat.

(Note: After recent attacks on his character and channel, Internet Aristocrat has removed his YouTube channel)

In the early years of gaming, the community was comprised primarily of men, and thus the industry catered to its largest audience: young males. As time went on, however, video games became more accessible and the community became more diverse. The introduction of casual games, like Bejeweled, created a clear dichotomy between “casual gamers” and “hardcore gamers”. The community now consists of gamers of all types, all genders, all peoples, united by a love of interactive entertainment. Nonetheless, the hardcore community began to feel as though their area of interest was being taken over by undeserving people. A superiority complex of sorts began to enter the minds of some of these more extreme gamers, even further creating a separation between themselves and the ever-diversifying community.

Anita Sarkeesian and Tropes vs. Women in Video Games

On May 17, 2012, Feminist Frequency creator Anita Sarkeesian announced a Kickstarter for Tropes vs. Women in Video Gamesa YouTube series which would examine gender tropes in gaming. Asking for $6000 to produce five videos, the project quickly began to accommodate stretch goals as the base-amount needed for the project was funded within 24 hours. As well as praise from the gaming community for exploring an oft-discussed issue, Sarkeesian also received hate mail, death threats, and disparaging comments.

The first video in her series, “Damsel in Distress: Part 1” (shown above), was released on March 7, 2013, after nine months of development. Up until the release of the video, critics were wondering how Sarkeesian was utilizing the money from the campaign, going so far as to say that the entire crowdfund was a hoax in order to receive “free” money. After the videos began to come out, however, the harassment shifted to attempting to remove her videos from YouTube and giving the videos overwhelmingly negative ratings and comments. Sarkeesian was so affected by some of these comments and threats, she disclosed on Twitter:

So far, six videos have been released in the Tropes vs. Women in Video Games series, the most recent one being released on August 25, 2014.

Zoe Quinn

Critics and supporters of the GamerGate say that the movement essentially starts and ends with one woman: Zoe Quinn. Quinn is an independent video game developer and the creator of Depression Quest, an interactive fiction game. Shortly after Depression Quest was released to primarily positive reviews, Quinn’s ex-boyfriend, Eron Gjoni, created the blog The Zoe Post. Gjoni revealed information about his and Quinn’s relationship, including how she had been involved in an affair with a Kotaku journalist and others.

What some got out of The Zoe Post was that Quinn had been trading sexual favors in order to receive positive reviews under-the-table for her game. This belief made people furious, for the corruption inherent in so many other forms of media had, in their minds, come to light in their own industry.Quinn became the target of harassment, including the hacking of her Tumblr page, the posting of personal information online, and numerous death and rape threats.

Controversy around Quinn grew even larger after a game jam developed by The Fine Young Capitalists, a feminist group created to help establish initiatives for under-represented members of the video game industry, was attacked by Quinn on social media. TFYC stated that the jam would consist of pitches submitted only by women, five of which would be voted on and nominated for crowd-funding, and the game with the most money would be developed by a team of professional developers, with a portion going to the woman who pitched the project, a portion to TFYC for funding other projects, and the rest to charity. Quinn, using Twitter as her primary shouting-point, called the jam exploitative and transphobic. TFYC lost much of their support, until an unexpected intervention from 4chan. Members of 4chan helped to produce videos with TFYC about major female figures in the game industry, as well as donating over $5000 to the group’s Indiegogo campaign. As a reward for their donation, 4chan was allowed to create a character to appear in the winning game and, after much discussion, Vivian James, an ordinary female gamer, was created.

Vivian James, an average female gamer, conceptualized by 4chan.

What Each Side is Fighting For

Supporters of GamerGate believe that video game journalism is corrupt and needs to be reformed. Concerns of journalistic integrity became significantly more apparent after it was discovered that several game journalists were contributing to Zoe Quinn’s Patreon page, as well as Quinn receiving an award for an indie video game competition, judged by someone with whom she was having an affair. The movement’s supporters want fair representation in gaming media, for both men and women. Ultimately, it’s not even about gender or gaming to them; GamerGate is, in supporter’s minds, about how we define a shared culture identity.

Critics of GamerGate claim that the movement is motivated by misogyny and creating a clear divide between male and female gamers. The targets of harassment in the movement have received exceptionally violent messages, to the point where women like Sarkeesian and Quinn do not feel safe in their own homes. Many people, including game developer Phil Fish, who supported Quinn were also the subject of harassment, hacking, and threats. They feel as though many of the claims against Quinn were made falsely and that the supporters have not identified any major ethical issues in gaming media. To them, GamerGate is a new, violent, widespread way of displaying misogyny within the video game industry in a much more broad way.

#GameOverGate and 4chan Censoring

In early September, Quinn had found an IRC (Internet Relay Chat) which, according to her, was evidence that the GamerGate movement was created by 4chan in order to become a new platform for harassing women. She soon created the hashtag #GameOverGate, as a mocking way of saying that the movement was now proven to be false. In response, Alexander Macris, co-founder of gaming website The Escapist, visited the same IRC and, in an article posted on the website, demonstrated how Quinn had taken many images out of context, with many of the comments written by trolls who were shortly thereafter banned.

Not long after the IRC incident, 4chan, a bastion of free-speech on the internet, became a new target of censorship. Posts discussing GamerGate, on any of the forum’s different boards, were removed and their posters’ banned. Website creator Christopher “moot” Poole made a post explaining how posting personal information had been banned on the website since its creation. Members of 4chan were unhappy with Poole, claiming that he never had issues with people’s personal information being posted before and that the reason there was controversy now was due to him becoming friendlier with people like Quinn, allowing Tumblr moderators to become new moderators for 4chan.

 Recent Harassment

In mid-October, Sarkeesian was to give a lecture at Utah State University. Having received a death threat, which claimed that the most violent school shooting in history would occur if she spoke, Sarkeesian discovered that USU was legally not allowed to forbid concealed firearms in the lecture hall. Despite requesting searches or metal detectors, the USU administration stated that in accordance with the law, they could not restrict entrance to someone who was carrying a concealed weapon, as long as the person has a valid permit. Fearing for her life, Sarkeesian cancelled the lecture. Some GamerGate supporters have claimed that Sarkeesian made-up the threat as a false-flag.

Later that month, actress and gamer Felicia Day made a post on her website discussing the GamerGate movement and explaining that due to fear of being lashed out at, has refrained from talking about her concerns for so long. One of the first comments to her post was Day’s home address and other personal information. Actor Wil Wheaton and former NFL player Chris Kluwe, both male gamers, also posted major criticisms against GamerGate, but neither Wheaton nor Kluwe were the subject of any form of harassment, leading many to believe the misogynistic intent behind the movement.

Supporters, on the other hand, have also received harassing emails and threats. Journalist Milo Yiannopoulos received a syringe in the mail, while YouTube personality Steven “boogie2988” Williams found comments on his videos with his home address, as well as threats towards his wife’s life.

On November 21, the Independent Game Developers Association (IGDA) created a Twitter bot which would automatically block anyone who followed specific Twitter accounts related to GamerGate leaders.

Where Does This Leave Us?

GamerGate is, for obvious reasons, a highly controversial subject. Members of each side of the issue have legitimate claims; supporters want fair representation in gaming media, and detractors want an end to harassment and misogyny in the game industry. However, extremists on both sides have led to an explosion of vitriolic hate from both parties. Harassment has been thrown around on both sides, with supporters being called “sexist and discriminatory basement dwellers” and detractors being called “overly-sensitive and fueling false social justice”. The divisions between the two sides are ultimately continuing to fuel the conflict. The core message of the movement is being lost in a gender argument. Until there can be reconciliation, the gap between the groups will only continue to grow. Actor Richard Sommer was quoted saying:

Gaming has been a great way to get to know people. That’s part of what I love about games, that they are social.

The video game industry was founded on the notion of a tight-knit community of impassioned people. Once the community can fully and fairly accept its brethren and sistren, can this community flourish into a shining example of equality and acceptance.

Preview: GamerGate

Logo for the GamerGate Movement.

Oh come on, let’s face it. You can’t have a gaming blog nowadays without talking about GamerGate.

In a few short months, it’s become one of the largest issues in the video game industry. Supporters of the movement are fighting for ethical journalism and equality of representation, while detractors state that it’s a mysoginistic war against female gamers and the diversity of gaming culture. It’s a hotbed issue, filled with misinformation and anger on both sides. But there are still people, gamers and nongamers alike, who are asking the same question: what the hell is GamerGate?

Within the coming weeks, I will be performing an exploration of GamerGate. I will start by introducing Anita Sarkeesian and her show Feminist Frequency and Zoe Quinn and the allegations made against her, then discuss the fallout between major journalist groups like Kotaku and the gaming community at large, then talk about the points being made on both sides (as well as the extremists), and finally end by presenting the effects of GamerGate and how it affects the gaming community and game journalism.

I will attempt, to the best of my abilities, to avoid taking a side on this issue. I’m not writing this article to give commentary, but merely to post a factual dissection on the newest revolution in gaming and how it could potentially affect the industry for years to come. Using the blog, I will use hyperlinks, videos, information from other websites, quotes from industry professionals, and other sources, to build one compilation source where, with the click of a button, one can find whatever additional information one needs for clarification. This issue is one rooted (obviously) in the gaming world, one of the many spheres of new media. It is only appropriate that the search for answers be found using other new media sources, especially given the fact that new information is disclosed about GamerGate on a near-daily basis, with the info being uploaded primarily to websites.

Given all of this, I hope you’re looking forward to GamerGate.

Unfulfilled Destiny: What Developers Promise and What’s Delivered

Game developers make promises. There’s nothing wrong with that: they want to sell us a product and satisfy a demand, so they claim that they will do something to satisfy that demand. However, when those promises outstrip the execution of that product, that’s when the promises become an issue.

Some games tend to become the victim of a “hype-train”; the excitement and anticipation around the game build to unrealistic proportions, to the point that when the game is finally released, no one is satisfied. These games end up being disappointing, examples of what could have been. So seeing these major giants rise and fall numerous times has made us callous and unable to fall for the hype again…right?

Destiny, one of the biggest games ever made, is one of the newest victims of the hype-train. I should know; I fell for it, as did many other gamers. I wanted so badly to believe that it would be the generation-defining game that it claimed to be, but when it ultimately came out, I, like thousands of other games, groaned in disbelief when the final product proved itself to be a boring and repetitive joke. That’s ultimately what it is now: a joke, a cruel prank played upon us by Bungie and Activision. I’m sure the intent was not to create a mediocre game; they obviously wanted it to sell big. But unfortunately, the intention was crushed by its execution.

We, as a gaming community, need to learn to not buy into the hype. We must investigate each game on a case-by-case basis and determine, individually, whether the game will live up to expectations or not. Otherwise, these games could become the next Destiny.

God, I hope Mass Effect 4 doesn’t suck…

Ludonarrative Dissonance in Modern Gaming

Woah, that’s a pretty wordy title. Let’s see if we can condense and contextualize it.

When we play video games, we experience the gameplay (ludology) and the story (narratology) attempting to entertain and immerse us in the game’s universe (no, this won’t be a talk about hyperreality and immersion, but it is related). Developers want us to be immersed in the games they create; they want us to continue playing the game so we praise it and help the developer to sell more units. It really is as utilitarian as it seems. When we cannot immerse ourselves, we aren’t entertained by the game, and we either sell the game back to a retailer, tell our friends not to buy the game, or both. This is something developers attempt to work against. However, due to the sole fact that the game is, in fact, a “game” and not reality, the gameplay often comes into conflict with the story the game is attempting to tell. This, when gameplay and story contradict one another, is ludonarrative dissonance.

The term was first coined by game developer Clint Hocking, in a 2007 article about how the themes of selflessness presented in Bioshock‘s story are at odds with the rewards of selfishness in its gameplay. I’m going to outline how three modern video games, all released in 2013, are affected by this contention of gameplay and storytelling.

Tomb Raider

Tomb Raider acts as a prequel to the critically-acclaimed franchise. Before she became a world-famous archaeologist and adventurer, Lara Croft goes on her first exploration on a deserted Japanese island, shrouded in mystery and mythology, as she attempts to find her friends after their ship crashes offshore. Stumbling through the forest, she is even squeamish about killing deer for food; she is uncomfortable with weapons. Fast-forward a little bit and she’s attacked by a crazed man attempting to rape and murder her. In an act of self-defense, she shoots the man, killing him. Before this point, you are not given any weapons. As you play, however, you learn to pick up items, interact with the environment, and finally, you’re given the ability to fight against humanoid enemies with weaponry. Within the process of play, you’re taught how to affect the environment with your items, and so when you finally get your hands on a gun, you use your gamer instincts to kill. And kill. And kill. You slaughter hundreds of humans throughout the remainder of the game without a second thought. The game inherently encourages your acts of violence while telling you that Lara is discouraged by them. What should be a difficult and traumatic act for Lara has become trivialized in the context of action-adventure gameplay. Though the game attempts to make Lara more comfortable with killing after shooting her would-be-rapist in the head, it doesn’t make sense how she is now okay with mowing through other people as easily as a war veteran.

Bioshock Infinite

The protagonist of Bioshock Infinite, Booker DeWitt, is given a task by enigmatic figures, who tell him to “Bring us the girl and wipe away the debt,” a vague set of instructions that has the private detective travelling to the paradisaical city of Columbus, hidden above the clouds, to steal away Elizabeth, the daughter of the city’s leader and chief religious figure. Given the importance of this task, and the fact that you’re being chased by the city’s police force for being a False Prophet, you would expect to find and extract Elizabeth as quickly as possible. But between fighting through Father Comstock’s unending army, you search through trash cans and alleyways to find health-replenishing food. Booker becomes the epitome of a glutton, chasing away seagulls for a few bites at a half-eaten hot dog. Finding restorative items makes sense to us as gamers; the character is hurt and needs to replenish his/her health. You can accomplish this by using medical kits found throughout the city, but as these are few and far between, your primary source of healing comes from sifting through the Colombians’ refuse.

I want to quickly address, however, a concern that many analysts had with Bioshock Infinite‘s gameplay, chiefly the amount of violence in it. Most critics had an issue with the fact that the gameplay was violent, as this did not reflect the nature of Booker’s character, in a similar vein to Lara Croft in Tomb Raider. However, the violence in Tomb Raider is dissonant because Lara goes from never having killed to massacring hundreds with barely any transition; she does not come from a violent background. Booker, on the other hand, is a veteran of the Wounded Knee Massacre, where over 150 Lakota Native Americans died. Booker is a war veteran who has experience with violence and weapons. The fact that he fights through Comstock’s forces in Columbia is not a ludonarrative issue.

The Last of Us

The Last of Us, despite being my favorite game of 2013, is not free from the grips of ludonarrative dissonance. Twenty years after a fungal epidemic plagues the planet, grizzled smuggler Joel attempts to escort Ellie, a young girl who is somehow the key to a vaccine, across the country. The visuals are breathtaking, the story is heart-wrenching, and the gameplay is…well, it has problems. It’s your standard third-person shooter, with the added difficulty of stealth and survival horror elements. Going into an encounter guns-blazing is not the best option, so you’re forced to scrounge for materials in a post-apocalyptic world and take out soldiers, gang members, and Infected as sneakily as possible. Each of these elements adds to the narrative the developers are trying to create, but in an effort to ease frustration on the part of the player, they have instead created a hilariously dissonant gameplay element: Ellie cannot be seen in stealth. Sure, enemies can attack and grab her once you’ve made your presence known, but while you’re skulking in dark corners, the AI cannot see Ellie, even when she’s literally right in front of them. Yes, it makes sense from a gameplay perspective to not punish the player for the work of the companion AI, but from a narrative perspective, it makes little to no sense why these bloodthirsty and vicious enemies don’t notice a fourteen-year old, foul-mouthed, badass girl.

Ian Bogost, in his article on procedural rhetoric, discusses how the inherent rules of a video game can reflect and make arguments about the real world because of its interactive nature. Each of the aforementioned games attempt to follow this process by having a story that is reflected through its gameplay. However, when the gameplay and storytelling elements clash, it is ultimately the gameplay that wins out because of the very definition of a game: it is a digital, interactive, structured form of play. Storytelling and art can be part of how the game is experienced, but it is the rules and forms of play itself that inform how a game truly is a game. So because the story is so integral to these games, to the point where it can affect how the gameplay is experienced, ludonarrative dissonance occurs and we are forced to reconsider the processes by which we create and enforce the rules of a game.