§METAL GEAR SOLID
Metal Gear Solid V: Dissociative Disorder (Story analysis + Review)
§
Metal Gear Solid V is a stellar game, with top-notch stealth action and a malleable world that leads to all sorts of memorable moments. Too bad the ending is such a mess.
§
Rumors have suggested that Konami was unhappy with how much money Hideo Kojima spent on his most recent epic, which might explain why one of Metal Gear Solid V’s most pivotal story missions isn’t actually in the game.
§
The Thing with Metal Gear Solid V
§
The big secret that we’d all feel embarrassed for doubting was that Quiet’s in a bikini because if she covers her skin she’ll die. Because of … some cruel … nano-science. Skin parasites! “Let’s design a babe who literally CAN NOT wear the usually expected amount of clothing involved in desert warfare!” Okay! Let’s make her really normally pretty! The verbalised narrative will be like “she’s hurt” and the visual narrative will be like “she’s coming to fuck you” and the combined narrative will be philosophy of violence? Remember when we did this with the supermodel war orphans and it was totally deep?? Fuckin’, brilliant, like I will drink to THAT my man.
§
I didn’t expect to voluntarily bleed so much for my enemies in Metal Gear Solid V: The Phantom Pain. Nor did I expect the game to encourage a self-sacrificial approach when so much of the promotional trailers talked about Snake’s descent into villainy.
/.../
I’ve always wanted to play a game that let me love my enemies as Jesus might. MGSV becomes this enemy-converting power fantasy where I get to preserve the lives of my enemies, offer them a job, and promise to fight for them when they come under attack.
§
The Phantom Pain and the Best Tutorial Ever Made
It knows tutorials are often drab affairs, so it takes you by the hand while leading you into one of the craziest introductions that I have ever seen.
§FROM KILLSCREEN
But to talk about Kafka is to talk about fables. The Trial is an allegory for the impersonal and arcane law; The Metamorphosis is an almost unaccountable fable for, perhaps, the life of the writer or the way in which our family lives fall apart. Corpse of Discovery works as a fable for a life spent at work, for the way in which the alien and unfamiliar fall into tedium, or for our own lonely approach to death.
§
Yet very few games are about memory in any meaningful sense and, from this perspective. Rememoried is a welcome attempt at filling this curious lacuna.
§
In fact, as Offworld points out, the gallery show that Anna gave in New York, before being hit by the car, included an installation called "empathy game." It consisted of a pedometer and a pair of Anna's old boots. The challenge was to walk a literal mile in Anna's boots in order to score a point. Writing about it, Anna described it as a reaction to empathy games, "especially how privileged folks will use them as a kind of shortcut to allyship, using a game like dys4ia as a substitute for truly educating themselves on issues surrounding trans women's lives and how to support them."
The point of the installation was that you could walk a mile in Anna's shoes and not learn anything about her experiences or how to actually help her or other trans women. The same goes for other personal games. And, as you learn by the end of Ohmygod Are You Alright?, despite the widespread championing dys4ia has received, it hasn't helped much with Anna's financial problems, nor her sense of loneliness and failure. She has reached many with her games but it seems not many have reached back.
§
For a game about the way a computer approaches chess, Best Chess really is all about pandering to and toying with the irrational needs of humans.
§
This idea of games avoiding familiar narrative structures has been a central focus of Erin’s work as a game developer.
§
Stasis is full of trembling ghosts, people who struggled to connect with others in life and ultimately embraced the solitude of death. John’s story is just an instantiation of this motif, and by no means the most compelling one in the game. If you were to play through Stasis without stopping to take in all the optional content, you would experience an aesthetically appealing, linear, cliche-ridden adventure -- you would feel cold and alone. But by placing your adventure in the context of all the other tragedies aboard the Groomlake, a kind of familial intimacy develops. It speaks to why we subject ourselves to known horror in the first place: confronting death has the ability to bind us together. It is the thing we all have in common.
Saturday, October 3, 2015
Friday, August 21, 2015
21/8
§HER STORY
It’s a Gothic story, fundamentally, the bones of Radcliffe and Bronte still visible under the wrappings of more modern genres. The duality of persons, the midwife, the poison, the significant pictures that are usually kept covered up; the obsession with mirrors and fairy-tales, doppelgangers and disguises, the forbidden places within the home, the family secrets preserved by servants, the false parentage. No, of course it’s not plausible. This kind of story has never been plausible.
/.../
The more authentic self, in other words, is sometimes also the more deliberately enacted and performed self. And this is the point (finally!) where we get back to what I liked about Her Story. Eve is both the more false and the more true member of that pair. She knows what she is doing and why she is doing it. She is more confident, braver, a superior liar. Hannah is less competent at being bad, without being a better person. Eve, one feels, would not have lashed out and killed Simon by accident. She might have killed him on purpose at some point, if she felt she had to, but not by accident.
As exaggerated as the story incidents were, as much as the virginity story squicked me out, as little as we have in common in circumstance or (I hope!) personality, there was still something about the deliberate self-making of Eve that spoke to me.
§MGS
And this is why many of the dramatic twists within and surrounding the codec work. Miller’s reveal as Liquid is a betrayal because it’s a long, subdued invasion of Snake’s most Snake-like space. The banjaxed AI Colonel disrupts Raiden’s sense of reality because it’s a deep-seated subversion of what we felt was sanctuary. The strangers Deepthroat and Mr. X unsettle us because they don’t belong here, so secretive, withholding, despite appearing vaguely benevolent in the advice they share.
§
Although many games have “bodies” and many games involve stabbing, shooting, slicing, and dicing them, few series have gone so far out of their way to showcase, alter, mangle, deform, transform, and violate them as Metal Gear Solid.
/.../
From early in the series, Kojima works to make his characters simultaneously more and less than human.
One of my goals with Hollywood Visionary, released by Choice of Games earlier this year, was to create a game with more interesting representations of gender identity.
§
Making Sense of Shenmue 3
§
"Hundreds of Hours of Content"
§
Dear Esther is best left as an unsettling howl of grief into the sea wind.
It’s a Gothic story, fundamentally, the bones of Radcliffe and Bronte still visible under the wrappings of more modern genres. The duality of persons, the midwife, the poison, the significant pictures that are usually kept covered up; the obsession with mirrors and fairy-tales, doppelgangers and disguises, the forbidden places within the home, the family secrets preserved by servants, the false parentage. No, of course it’s not plausible. This kind of story has never been plausible.
/.../
The more authentic self, in other words, is sometimes also the more deliberately enacted and performed self. And this is the point (finally!) where we get back to what I liked about Her Story. Eve is both the more false and the more true member of that pair. She knows what she is doing and why she is doing it. She is more confident, braver, a superior liar. Hannah is less competent at being bad, without being a better person. Eve, one feels, would not have lashed out and killed Simon by accident. She might have killed him on purpose at some point, if she felt she had to, but not by accident.
As exaggerated as the story incidents were, as much as the virginity story squicked me out, as little as we have in common in circumstance or (I hope!) personality, there was still something about the deliberate self-making of Eve that spoke to me.
§MGS
And this is why many of the dramatic twists within and surrounding the codec work. Miller’s reveal as Liquid is a betrayal because it’s a long, subdued invasion of Snake’s most Snake-like space. The banjaxed AI Colonel disrupts Raiden’s sense of reality because it’s a deep-seated subversion of what we felt was sanctuary. The strangers Deepthroat and Mr. X unsettle us because they don’t belong here, so secretive, withholding, despite appearing vaguely benevolent in the advice they share.
§
Although many games have “bodies” and many games involve stabbing, shooting, slicing, and dicing them, few series have gone so far out of their way to showcase, alter, mangle, deform, transform, and violate them as Metal Gear Solid.
/.../
From early in the series, Kojima works to make his characters simultaneously more and less than human.
One of my goals with Hollywood Visionary, released by Choice of Games earlier this year, was to create a game with more interesting representations of gender identity.
§
Making Sense of Shenmue 3
§
"Hundreds of Hours of Content"
§
Dear Esther is best left as an unsettling howl of grief into the sea wind.
Tuesday, July 14, 2015
Her Story and other
§HER STORY
On that last interview, it's important to note that the clips you bring back with every search are ordered chronologically rather than given a permanent random ordering. This seemingly minor detail is significant because the final interview clips often get edged out of a search's five clip cap. This is an astute way to bake hard answers into the game without having to gate them artificially, thus retaining Her Story's sense of openness.
§
What’s interesting is how Barlow doesn’t seem to sweat the idea that the mystery might be solved quickly, or whether that mystery itself is all that important to Her Story.
§
So I’m assuming we all took slightly different routes through the story and I’d be interested to know your favourite or most memorable AHA moments because I’m thinking they’ll vary due to those different pathways.
§
There is a freedom in Her Story, and it is the freedom that comes from the game getting out of the way: you don't have to arrange your thoughts for the computer to then check at the end. You don't have to show your workings. It's not Cluedo. You don't actually have to arrange your thoughts at all. Ultimately, the game's about prejudice as much as detective work; it's not Her Story but Your Story as you weigh the evidence and apportion motives as you see fit
§
Barlow decided to make a game by himself and never looked back. His very first idea was to place the entire game around a police interview, and the reasons behind that are more intriguing than you'd think.
§
Her Story: Walkthrough Guide and Discussion
§OTHER
The Legacy of Super Mario Bros.
§
MGS5 Analysis: E3 2015 Trailer - Liquid & 'Solid', Venom Schizophrenic?! Godzilla Reference? - 1Hour
§
Most danmaku games share certain commonalities./.../However, Warning Forever (produced by Hikoza Ohkubo) marks a strong disjuncture with these expectation.
/.../
whereas in most danmaku games the player learns the bosses’ patterns, the reverse is true in Warning Forever.
/.../
A skilled player should therefore switch rapidly between many playstyles to prevent (or at least slow down) the boss becoming too challenging to defeat by progressing too far down any single dominant evolutionary tree.
§
Errant Signal - Sunset (Spoilers)
On that last interview, it's important to note that the clips you bring back with every search are ordered chronologically rather than given a permanent random ordering. This seemingly minor detail is significant because the final interview clips often get edged out of a search's five clip cap. This is an astute way to bake hard answers into the game without having to gate them artificially, thus retaining Her Story's sense of openness.
§
What’s interesting is how Barlow doesn’t seem to sweat the idea that the mystery might be solved quickly, or whether that mystery itself is all that important to Her Story.
§
So I’m assuming we all took slightly different routes through the story and I’d be interested to know your favourite or most memorable AHA moments because I’m thinking they’ll vary due to those different pathways.
§
There is a freedom in Her Story, and it is the freedom that comes from the game getting out of the way: you don't have to arrange your thoughts for the computer to then check at the end. You don't have to show your workings. It's not Cluedo. You don't actually have to arrange your thoughts at all. Ultimately, the game's about prejudice as much as detective work; it's not Her Story but Your Story as you weigh the evidence and apportion motives as you see fit
§
Barlow decided to make a game by himself and never looked back. His very first idea was to place the entire game around a police interview, and the reasons behind that are more intriguing than you'd think.
§
Her Story: Walkthrough Guide and Discussion
§OTHER
The Legacy of Super Mario Bros.
§
MGS5 Analysis: E3 2015 Trailer - Liquid & 'Solid', Venom Schizophrenic?! Godzilla Reference? - 1Hour
§
Most danmaku games share certain commonalities./.../However, Warning Forever (produced by Hikoza Ohkubo) marks a strong disjuncture with these expectation.
/.../
whereas in most danmaku games the player learns the bosses’ patterns, the reverse is true in Warning Forever.
/.../
A skilled player should therefore switch rapidly between many playstyles to prevent (or at least slow down) the boss becoming too challenging to defeat by progressing too far down any single dominant evolutionary tree.
§
Errant Signal - Sunset (Spoilers)
Sunday, June 21, 2015
Critical Compilation - Kentucky Route Zero
§KENTUCKY ROUTE ZERO
GDC Vault - Designing for Mystery in Kentucky Route Zero
§
Interview: Kentucky Route Zero’s Mountain Of Meanings
§
Global economic crisis, local history, American literature: The two hours of the first episode give you many interesting things to discover (and there is so much more).
/.../
Act Two focuses on architecture, philosophy and different perspectives on questions of migration and socio-cultural issues of home.
/.../
When we started this series, the discussion about Kentucky Route Zero consisted almost exclusively of David Lynch references and the question about when the next episode was going to be released. Luckily, this has changed.
§
The Endless Night of Kentucky Route Zero
Later in the game, when Conway says something is going to happen “in the morning” the very idea is laughable. There’s two episodes left of Kentucky Route Zero, and I get the feeling that morning is somehow never going to come. Even if it does… it won’t really come. I’ll still be in the bar, at a party, in the dark, or on the Zero, marveling at the impossibility of dawn.
§
To varying degrees, all video games seem to see themselves as mere shades of the Platonic ideal of the video game: the holodeck.
/.../Then, we have games like Kentucky Route Zero, which don’t.
And while Kentucky Route Zero does ostensibly exist within a video game space, it is more interested in the function of spaces within that space. It is based on the expressive forms of experimental theater, installation art and modernist literature, not on the ideal of the holodeck. It creates non-Euclidean spaces that cannot exist, not as an expression of the possibilities of video game space when unshackled by the constraints of the real world, but as an outright rejection of the common standard of video game spaces.
§
Design Live - Kentucky Route Zero - Livestream Playthrough and Analysis
§
Design Live - Kentucky Route Zero - Livestream Playthrough and Analysis 2
§
By elevating the player above a single-perspective experience, Kentucky Route Zero actually enriches its capacity for narrative agency. You aren’t confined to a single viewpoint through which to access and assess the narrative, but are, instead, present through all perspectives.
/.../
The characters feel believable because you are crafting not just how a character responds in a present moment, but also what their backstory is. You shape these characters across planes in time in a way that makes them feel complex, multi-dimensional, and real. In Kentucky Route Zero you not only construct what the past was, but define why it has bearing on a character and their actions in the game’s present. That these actions occur simultaneously to your attempts to situate them brings the multi-dimensionality of the characters directly to the foreground of the game, and makes it the ludic function by which players advance.
§
Ranging from despondent, bitter to hopeful, each choice holds a mirror to the player, asking them a basic question that games rarely if ever bother asking: “How do you feel?”
By doing so, Kentucky Route Zero is able to achieve something important: It includes the player in its narrative process even though the narrative is linear. Every choice you make in the game affects your experience of it and how you contextualize the characters within it more than the actual plot itself.
/.../
As dawn approaches in Kentucky Route Zero, maybe the sun shall shine not just on the ever-evasive quandaries of the world that its characters seem to grapple with, but also on aspects of our own selves and who we really are when we interact with seemingly static choices in a world fated by its script.
§
I love that Kentucky Route Zero does so much to make me feel richly invested in its world without making me feel like it's only through my presence there that the world matters. I want to see more and more games do this. Because if my story is the only one that matters, then nothing matters, since it's only through our connections with each other that the meaning in our stories can reveal itself.
§
Bright light filters in from the wide front windows of the Emporium Arcade Bar in Chicago's Wicker Park neighborhood. Jake Elliott and Tamas Kemenczy, the two halves of indie developer Cardboard Computer, sit next to each other, each nursing a pint full of dark beer.
§
There is an important part in Kentucky Route Zero Act II when Shannon says, "Are we inside or outside?"
You can choose between three answers: "Inside." "Outside." Or "Both."
GDC Vault - Designing for Mystery in Kentucky Route Zero
§
Interview: Kentucky Route Zero’s Mountain Of Meanings
§
Global economic crisis, local history, American literature: The two hours of the first episode give you many interesting things to discover (and there is so much more).
/.../
Act Two focuses on architecture, philosophy and different perspectives on questions of migration and socio-cultural issues of home.
/.../
When we started this series, the discussion about Kentucky Route Zero consisted almost exclusively of David Lynch references and the question about when the next episode was going to be released. Luckily, this has changed.
§
The Endless Night of Kentucky Route Zero
Later in the game, when Conway says something is going to happen “in the morning” the very idea is laughable. There’s two episodes left of Kentucky Route Zero, and I get the feeling that morning is somehow never going to come. Even if it does… it won’t really come. I’ll still be in the bar, at a party, in the dark, or on the Zero, marveling at the impossibility of dawn.
§
To varying degrees, all video games seem to see themselves as mere shades of the Platonic ideal of the video game: the holodeck.
/.../Then, we have games like Kentucky Route Zero, which don’t.
And while Kentucky Route Zero does ostensibly exist within a video game space, it is more interested in the function of spaces within that space. It is based on the expressive forms of experimental theater, installation art and modernist literature, not on the ideal of the holodeck. It creates non-Euclidean spaces that cannot exist, not as an expression of the possibilities of video game space when unshackled by the constraints of the real world, but as an outright rejection of the common standard of video game spaces.
§
Design Live - Kentucky Route Zero - Livestream Playthrough and Analysis
§
Design Live - Kentucky Route Zero - Livestream Playthrough and Analysis 2
§
By elevating the player above a single-perspective experience, Kentucky Route Zero actually enriches its capacity for narrative agency. You aren’t confined to a single viewpoint through which to access and assess the narrative, but are, instead, present through all perspectives.
/.../
The characters feel believable because you are crafting not just how a character responds in a present moment, but also what their backstory is. You shape these characters across planes in time in a way that makes them feel complex, multi-dimensional, and real. In Kentucky Route Zero you not only construct what the past was, but define why it has bearing on a character and their actions in the game’s present. That these actions occur simultaneously to your attempts to situate them brings the multi-dimensionality of the characters directly to the foreground of the game, and makes it the ludic function by which players advance.
§
Ranging from despondent, bitter to hopeful, each choice holds a mirror to the player, asking them a basic question that games rarely if ever bother asking: “How do you feel?”
By doing so, Kentucky Route Zero is able to achieve something important: It includes the player in its narrative process even though the narrative is linear. Every choice you make in the game affects your experience of it and how you contextualize the characters within it more than the actual plot itself.
/.../
As dawn approaches in Kentucky Route Zero, maybe the sun shall shine not just on the ever-evasive quandaries of the world that its characters seem to grapple with, but also on aspects of our own selves and who we really are when we interact with seemingly static choices in a world fated by its script.
§
I love that Kentucky Route Zero does so much to make me feel richly invested in its world without making me feel like it's only through my presence there that the world matters. I want to see more and more games do this. Because if my story is the only one that matters, then nothing matters, since it's only through our connections with each other that the meaning in our stories can reveal itself.
§
Bright light filters in from the wide front windows of the Emporium Arcade Bar in Chicago's Wicker Park neighborhood. Jake Elliott and Tamas Kemenczy, the two halves of indie developer Cardboard Computer, sit next to each other, each nursing a pint full of dark beer.
§
There is an important part in Kentucky Route Zero Act II when Shannon says, "Are we inside or outside?"
You can choose between three answers: "Inside." "Outside." Or "Both."
Sunday, June 14, 2015
14/6
A Eulogy for P.T.
§
Why is Mario's Theme Music So Catchy?? | Game/Show | PBS Digital Studios
§
The Minecraft Industrial Revolution
§
Would You Believe There Have Been Only 14 Playable Black Women in Gaming?
§
Game Theory: Why Video Game Movies SUCK!
§
How Can Videogames Make You a Kinder Person? | Game/Show | PBS Digital Studios
§
Every single game I can think of where I’d really like to skip an individual boss fight or mini-boss fight has a button available to skip lines of dialogue or entire conversations entirely. Players can willingly skip the parts of games I’m there to see, so why can’t I skip the parts of games that they’re there to see?
§
Why is Mario's Theme Music So Catchy?? | Game/Show | PBS Digital Studios
§
The Minecraft Industrial Revolution
§
Would You Believe There Have Been Only 14 Playable Black Women in Gaming?
§
Game Theory: Why Video Game Movies SUCK!
§
How Can Videogames Make You a Kinder Person? | Game/Show | PBS Digital Studios
§
Every single game I can think of where I’d really like to skip an individual boss fight or mini-boss fight has a button available to skip lines of dialogue or entire conversations entirely. Players can willingly skip the parts of games I’m there to see, so why can’t I skip the parts of games that they’re there to see?
Monday, June 8, 2015
Someone elses article about Shattered Memories
I’m finally ready to talk about Silent Hill Shattered Memories.
As you may know from reading my top picks from last year[1], I found the game to be one of the most emotional and beautiful games I’ve played in a while. I even went so far as to say that the “game…understands the series and videogames as a medium so well that it alienated nearly the entire Silent Hill fan community.” I was not being hyperbolic. I meant every word I said.
So let’s talk about that reaction. Climax’s previous Silent Hill game–Origins–was very Silent Hill By The Numbers and is widely considered one of the least interesting titles in the series for that very reason. Shattered Memories, on the other hand, throws out nearly everything that makes Silent Hill be Silent Hill, and that led to an appropriately chilly reception. Rather than being a case of a developer latching onto a series to boost sales no matter how inappropriate the idea is (The Room, anyone?), I believe that the alterations and changes were not made lightly. Climax had the opportunity to give us Another Silent Hill game that would be everything we expected and would sell well, but it decided to brave internet flames to give us an example of a videogame that does something different. I would like to take some time to briefly (for me, at least) discuss how Shattered Memories uses its Silent Hill-ness in order to futher its themes.
There will be spoilers.
I tend to get fairly idiosyncratic interpretations of games, so take anything I say with a grain of salt, but I actually think the Silent Hill brand is pretty necessary to the game. Thematically, the game is about the process of therapy as a method of uncovering past trauma in order to finally deal with it properly. Cheryl’s character has some preconceived notions about how the past was, how the people in her life acted and how they treated her. As is the case with many of us, she dealt with this trauma at too young of an age to make a rational, empowered decision and it’s caused some major psychological issues. She has this notion of who her father is, who her mother is, why she feels abandoned, etc. Dr. Kaufmann’s goal is to force her to break through her prejudices and see her parents for who they “really” are–flawed and human. To realize that, for example, the divorce wasn’t something done *to* her, but the result of two people who simply made some mistakes.
Without playing the games, without having lived with these characters for 10 years, one can certainly understand and appreciate the story–it’s extremely well-written, I feel, and the emotional resonances of the story do still exist. That’s part of why the game needs the variable dimension–if the questions are answered honestly, it’ll confront you with things that you may feel guilty or ashamed about.
But if you’re a Silent Hill fan, the personal resonances become deeper, because you *have* lived with a picture of Harry for 10 years. The first time you saw him, in SH1, he’s a devoted father willing to go through hell to find his daughter. Dhalia is a manipulative woman in league with the demons and willing to inflict abuse and neglect upon her daughter. Shattered Memories’ Harry is not the Harry we have come to know and love. Mine was a drunk. Yours may have been promiscuous. Either way, there’s supposed to be a feeling of wrong. Did you pay attention to the backlash over the new character design? People criticized the fact that, this time, Harry wears glasses. Ruined forever.
You are, through the entire game, supposed to be telling yourself: That’s not Harry. That’s not Dhalia. That’s not Cybil. They changed these characters. They changed them into something completely different and that is not how these characters are and why did they change my favorite characters and why didn’t they just use new characters if they’re going to shit all over them?
For Cheryl, Dr. Kaufmann is doing the psychoanalytic equivalent of shitting over her family.
As far as my limited understanding of therapy goes[2], there are two related concepts at work here–repression and resistance. Both are pretty easy to understand and you may already know them. Repression is when a traumatic experience or a desire proves so difficult to deal with that you banish all traces of it from conscious thought. This rarely goes well. The trauma will appear elsewhere. I don’t believe it to be so straightforward as Freud’s conception of repression–few people do anymore–but pretty much everyone agrees that if you go through some tough times before you’re ready to deal with them, and you’re expected to deal with them on your own, you’re going to have a bit of an interesting worldview.
But the problem is this: It’s YOUR worldview, dammit, and though you may be miserable and crazy, you’re damned if you want it changed or taken away from you. And that’s where you get into resistance. You may not like the way you think and feel and act, and you may be going through therapy to change those things, but no one said it was going to be easy. No matter how comfortable you feel with your therapist, no matter how open a person you may be, no matter how much you desire to change or receptive you may be, there are going to be times where you’re going to want to fight your therapist or spend the full hour saying nothing and staring at the window.
Very little of the action in Shattered Memories actually happens. What we are seeing is a literalization of resistance. The Raw Shocks are the most obvious manifestation of this. Any time a character is about to reveal a truth about the situation, any time Cheryl is about to have a breakthrough, the world freezes and a bunch of monsters chase. When you get caught, the monsters appear to caress Harry. A lot has been speculated about this, often in Electra-complex terms–there’s definitely some strong overtones of this throughout the game[3]. There’s other theories that the creatures are offering simple comfort. Whatever your interpretation, it’s undeniable that the creatures aren’t trying to kill Harry–they’re just detaining him indefinitely. The creatures are agents of repression. They appear to protect Cheryl from the truth. More importantly, they prevent the player from continuing.
Let’s never forget this: Shattered Memories was pitched at tailoring itself to the player from the beginnig. The very first thing you see is a warning screen which, rather than the normal survival horror intro letting you know that the game you just paid $50 for contains violent images and you should shut it off forever if you don’t want to see blood, alerts you to the psychological profiling. “This game plays you as much as you play it.” It shows its hand: If you don’t want to be manipulated, don’t play it.
In the original Silent Hill, Harry braves hell in order to find his daughter, with no thoughts towards his own safety. Dhalia manipulates him, prevents him from finding Cheryl, is ultimately responsible for all the horror. Dr. Kaufmann abuses his position in order to grow his power, callously using everyone around him without any care for their feelings. Cheryl is a sweet little girl who’s been wronged, who is scared, and who can’t take care of herself–who needs her daddy to take care of her. Those are the preconceptions the player takes in with him or her. Take out the supernatural elements and view the characters as archetypes. Harry is separated from his daughter and, even in death, longs to be with her. Dhalia drove Harry to a ruin which ultimately led to his death and Cheryl’s unstable mental state. Dr. Kaufmann is a sadistic, angry, often frightening man who yells at and berates his patients. Cheryl herself is having a difficult time making her way through the world and anxiously awaits the return of the one person who can make her whole. Those are the preconceptions that Cheryl brings to therapy.
Shattered Memories plays you as much as you play it. It manipulates you. That backlash you feel? The feeling that this Harry isn’t the real Harry, that that’s not who Dhalia is–that’s resistance.
You’ve got your ideas about how Silent Hill works, the game is challenging you, and you’re fighting back. I don’t even think that the “real” Dr. Kaufmann is as angry as he appears in the game. I think he’s just a stubborn therapist who knows that the best thing for his patient is to force her to confront what she does not want to, and she sees him as a raving lunatic.
We’ve all seen player/character identification before: The example I always give is when Mario falls down a pit, the player simply says, “I died.” We’ve all seen games which directly involve or address the player–the final battle of Earthbound, for examples. We’ve even seen games which give the player the same exact experience as the character–the .hack// series is one. Shattered Memories, in my interpretation, does all of those things. It places its psychology scenes in first-person not only to delay the reveal, but because the game desires to analyze you. Because you are the one answering the therapist’s questions, you are, effectively, taking on the role of Cheryl.
Shattered Memories not only uses videogames as a medium for telling its story, it uses the Silent Hill franchise as part of its palette. Most of the complaints had to do with the fact that it’s widely perceived that the game simply uses the franchise/characters in order to boost sales of an unrelated game; it would have had a better reception if it had used all new characters to tell its story. But that’s clearly not the case. The game is quite literally about the inability to see people you believe you know in a different light, from a different angle. Our unwillingness to do so mimics the characters’ inability. We need to have preconceptions of these characters; we quite simply need to have some baggage. Giving this storyline to completely original characters would not have made it nearly as effective; the player would have been more of an observer than an active participant. The fact is, the only way the game could have furthered its themes more intensely would be if the game had been from the perspective of Princess Peach, thinking about Mario’s journey to save her.
Love,
Richard
_______________________________
1.http://cartridgeblowers.wordpress.com/2010/01/02/2009-in-memorium-richard/
[back]
2. I may have a Lit degree, but I have more credentials about talking about psychology than Cooper Lawrence does about videogames, and she even got on TV and everything. A large component of that lit degree was spent on psychoanalytic criticism, so I’ve got some Lacan and Jung and other writers under my belt. Meanwhile, I’m in therapy myself; my therapist is aware of my interests and will often discuss the underlying concepts of what’s going on in our sessions with me. I may not know enough to write a paper for an academic journal, but I’m not working from entirely false information here. And that’s why our side is better than the moral guardians’.
[back]
3. My friend Rai pointed out that Silent Hill 3′s main theme, “You’re Not Here”, always felt a little too sexual for the game’s plot. The song is intended to be sung by Heather/Cheryl–there’s a video which i believe is official depicting her singing it. The most important character to her is her father, who is definitely a source of strength for her, and it’s natural for her to miss him, but the lyrics are clearly addressed to a lost lover. In light of Shattered Memories’ plot, the song takes on a completely different meaning.
As you may know from reading my top picks from last year[1], I found the game to be one of the most emotional and beautiful games I’ve played in a while. I even went so far as to say that the “game…understands the series and videogames as a medium so well that it alienated nearly the entire Silent Hill fan community.” I was not being hyperbolic. I meant every word I said.
So let’s talk about that reaction. Climax’s previous Silent Hill game–Origins–was very Silent Hill By The Numbers and is widely considered one of the least interesting titles in the series for that very reason. Shattered Memories, on the other hand, throws out nearly everything that makes Silent Hill be Silent Hill, and that led to an appropriately chilly reception. Rather than being a case of a developer latching onto a series to boost sales no matter how inappropriate the idea is (The Room, anyone?), I believe that the alterations and changes were not made lightly. Climax had the opportunity to give us Another Silent Hill game that would be everything we expected and would sell well, but it decided to brave internet flames to give us an example of a videogame that does something different. I would like to take some time to briefly (for me, at least) discuss how Shattered Memories uses its Silent Hill-ness in order to futher its themes.
There will be spoilers.
I tend to get fairly idiosyncratic interpretations of games, so take anything I say with a grain of salt, but I actually think the Silent Hill brand is pretty necessary to the game. Thematically, the game is about the process of therapy as a method of uncovering past trauma in order to finally deal with it properly. Cheryl’s character has some preconceived notions about how the past was, how the people in her life acted and how they treated her. As is the case with many of us, she dealt with this trauma at too young of an age to make a rational, empowered decision and it’s caused some major psychological issues. She has this notion of who her father is, who her mother is, why she feels abandoned, etc. Dr. Kaufmann’s goal is to force her to break through her prejudices and see her parents for who they “really” are–flawed and human. To realize that, for example, the divorce wasn’t something done *to* her, but the result of two people who simply made some mistakes.
Without playing the games, without having lived with these characters for 10 years, one can certainly understand and appreciate the story–it’s extremely well-written, I feel, and the emotional resonances of the story do still exist. That’s part of why the game needs the variable dimension–if the questions are answered honestly, it’ll confront you with things that you may feel guilty or ashamed about.
But if you’re a Silent Hill fan, the personal resonances become deeper, because you *have* lived with a picture of Harry for 10 years. The first time you saw him, in SH1, he’s a devoted father willing to go through hell to find his daughter. Dhalia is a manipulative woman in league with the demons and willing to inflict abuse and neglect upon her daughter. Shattered Memories’ Harry is not the Harry we have come to know and love. Mine was a drunk. Yours may have been promiscuous. Either way, there’s supposed to be a feeling of wrong. Did you pay attention to the backlash over the new character design? People criticized the fact that, this time, Harry wears glasses. Ruined forever.
You are, through the entire game, supposed to be telling yourself: That’s not Harry. That’s not Dhalia. That’s not Cybil. They changed these characters. They changed them into something completely different and that is not how these characters are and why did they change my favorite characters and why didn’t they just use new characters if they’re going to shit all over them?
For Cheryl, Dr. Kaufmann is doing the psychoanalytic equivalent of shitting over her family.
As far as my limited understanding of therapy goes[2], there are two related concepts at work here–repression and resistance. Both are pretty easy to understand and you may already know them. Repression is when a traumatic experience or a desire proves so difficult to deal with that you banish all traces of it from conscious thought. This rarely goes well. The trauma will appear elsewhere. I don’t believe it to be so straightforward as Freud’s conception of repression–few people do anymore–but pretty much everyone agrees that if you go through some tough times before you’re ready to deal with them, and you’re expected to deal with them on your own, you’re going to have a bit of an interesting worldview.
But the problem is this: It’s YOUR worldview, dammit, and though you may be miserable and crazy, you’re damned if you want it changed or taken away from you. And that’s where you get into resistance. You may not like the way you think and feel and act, and you may be going through therapy to change those things, but no one said it was going to be easy. No matter how comfortable you feel with your therapist, no matter how open a person you may be, no matter how much you desire to change or receptive you may be, there are going to be times where you’re going to want to fight your therapist or spend the full hour saying nothing and staring at the window.
Very little of the action in Shattered Memories actually happens. What we are seeing is a literalization of resistance. The Raw Shocks are the most obvious manifestation of this. Any time a character is about to reveal a truth about the situation, any time Cheryl is about to have a breakthrough, the world freezes and a bunch of monsters chase. When you get caught, the monsters appear to caress Harry. A lot has been speculated about this, often in Electra-complex terms–there’s definitely some strong overtones of this throughout the game[3]. There’s other theories that the creatures are offering simple comfort. Whatever your interpretation, it’s undeniable that the creatures aren’t trying to kill Harry–they’re just detaining him indefinitely. The creatures are agents of repression. They appear to protect Cheryl from the truth. More importantly, they prevent the player from continuing.
Let’s never forget this: Shattered Memories was pitched at tailoring itself to the player from the beginnig. The very first thing you see is a warning screen which, rather than the normal survival horror intro letting you know that the game you just paid $50 for contains violent images and you should shut it off forever if you don’t want to see blood, alerts you to the psychological profiling. “This game plays you as much as you play it.” It shows its hand: If you don’t want to be manipulated, don’t play it.
In the original Silent Hill, Harry braves hell in order to find his daughter, with no thoughts towards his own safety. Dhalia manipulates him, prevents him from finding Cheryl, is ultimately responsible for all the horror. Dr. Kaufmann abuses his position in order to grow his power, callously using everyone around him without any care for their feelings. Cheryl is a sweet little girl who’s been wronged, who is scared, and who can’t take care of herself–who needs her daddy to take care of her. Those are the preconceptions the player takes in with him or her. Take out the supernatural elements and view the characters as archetypes. Harry is separated from his daughter and, even in death, longs to be with her. Dhalia drove Harry to a ruin which ultimately led to his death and Cheryl’s unstable mental state. Dr. Kaufmann is a sadistic, angry, often frightening man who yells at and berates his patients. Cheryl herself is having a difficult time making her way through the world and anxiously awaits the return of the one person who can make her whole. Those are the preconceptions that Cheryl brings to therapy.
Shattered Memories plays you as much as you play it. It manipulates you. That backlash you feel? The feeling that this Harry isn’t the real Harry, that that’s not who Dhalia is–that’s resistance.
You’ve got your ideas about how Silent Hill works, the game is challenging you, and you’re fighting back. I don’t even think that the “real” Dr. Kaufmann is as angry as he appears in the game. I think he’s just a stubborn therapist who knows that the best thing for his patient is to force her to confront what she does not want to, and she sees him as a raving lunatic.
We’ve all seen player/character identification before: The example I always give is when Mario falls down a pit, the player simply says, “I died.” We’ve all seen games which directly involve or address the player–the final battle of Earthbound, for examples. We’ve even seen games which give the player the same exact experience as the character–the .hack// series is one. Shattered Memories, in my interpretation, does all of those things. It places its psychology scenes in first-person not only to delay the reveal, but because the game desires to analyze you. Because you are the one answering the therapist’s questions, you are, effectively, taking on the role of Cheryl.
Shattered Memories not only uses videogames as a medium for telling its story, it uses the Silent Hill franchise as part of its palette. Most of the complaints had to do with the fact that it’s widely perceived that the game simply uses the franchise/characters in order to boost sales of an unrelated game; it would have had a better reception if it had used all new characters to tell its story. But that’s clearly not the case. The game is quite literally about the inability to see people you believe you know in a different light, from a different angle. Our unwillingness to do so mimics the characters’ inability. We need to have preconceptions of these characters; we quite simply need to have some baggage. Giving this storyline to completely original characters would not have made it nearly as effective; the player would have been more of an observer than an active participant. The fact is, the only way the game could have furthered its themes more intensely would be if the game had been from the perspective of Princess Peach, thinking about Mario’s journey to save her.
Love,
Richard
_______________________________
1.http://cartridgeblowers.wordpress.com/2010/01/02/2009-in-memorium-richard/
[back]
2. I may have a Lit degree, but I have more credentials about talking about psychology than Cooper Lawrence does about videogames, and she even got on TV and everything. A large component of that lit degree was spent on psychoanalytic criticism, so I’ve got some Lacan and Jung and other writers under my belt. Meanwhile, I’m in therapy myself; my therapist is aware of my interests and will often discuss the underlying concepts of what’s going on in our sessions with me. I may not know enough to write a paper for an academic journal, but I’m not working from entirely false information here. And that’s why our side is better than the moral guardians’.
[back]
3. My friend Rai pointed out that Silent Hill 3′s main theme, “You’re Not Here”, always felt a little too sexual for the game’s plot. The song is intended to be sung by Heather/Cheryl–there’s a video which i believe is official depicting her singing it. The most important character to her is her father, who is definitely a source of strength for her, and it’s natural for her to miss him, but the lyrics are clearly addressed to a lost lover. In light of Shattered Memories’ plot, the song takes on a completely different meaning.
Tuesday, May 12, 2015
12/5
a major barrier to the exploration of emotional resonance in games is the puzzle-solving orientation, in which all game objects and actors are reduced to the status of things to be used in order to achieve an end
thus, soft chambers is invested in discovering ways to disrupt this orientation
/.../
whereas the traditional approach to 'closing distance’ has been to attempt 'immersion’ of the player within the game world, soft chambers believes it may be more fruitful to explore ways in which we can allow the game to spill into the player’s world
§
the norm for videogame development is the negation of the self; indeed, we are encouraged to pride ourselves on this negation, on our dedication to our labour against the demands of our body, our relationships
/.../
as we explore the development of games that are more caring of our players, we wish to explore modes of production that are more caring of ourselves
§
because videogames are the aesthetic form of rationalization, replacing punching with hugging or building with growing is not enough
but it is a start
§
Is Deus Ex Still The Best Game Ever?
§
Errant Signal - Blendo Games (Spoilers)
§
The story of the last two games—Soul Reaver 2 and Defiance—then becomes the process of rectifying history, of restoring it to its proper flow. Put another way, the return of the soul to its proper, divine status is the objective of vanilla Gnosticism; in Legacy of Kain the objective is the restoration of history’s proper flow.
thus, soft chambers is invested in discovering ways to disrupt this orientation
/.../
whereas the traditional approach to 'closing distance’ has been to attempt 'immersion’ of the player within the game world, soft chambers believes it may be more fruitful to explore ways in which we can allow the game to spill into the player’s world
§
the norm for videogame development is the negation of the self; indeed, we are encouraged to pride ourselves on this negation, on our dedication to our labour against the demands of our body, our relationships
/.../
as we explore the development of games that are more caring of our players, we wish to explore modes of production that are more caring of ourselves
§
because videogames are the aesthetic form of rationalization, replacing punching with hugging or building with growing is not enough
but it is a start
§
Is Deus Ex Still The Best Game Ever?
§
Errant Signal - Blendo Games (Spoilers)
§
The story of the last two games—Soul Reaver 2 and Defiance—then becomes the process of rectifying history, of restoring it to its proper flow. Put another way, the return of the soul to its proper, divine status is the objective of vanilla Gnosticism; in Legacy of Kain the objective is the restoration of history’s proper flow.
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