E3 tends to throw a lot of information––and games––at the public. D. Bethel has thoughts on a few of them.
Having been a console-first gamer my entire gaming life, I tend to pay close attention to the news and videos coming out of the annual Electronic Entertainment Expo (E3). At this point, I don’t get particularly hyped about the games that get announced (I hear people that hit social media after a press conference exclaiming, seemingly in earnest, “I NEED THIS GAME NOW!” Chill, dude) especially since few games shown at E3 anymore are surprises, having been announced months or years earlier. If anything, being a guy who is way into process, I’m excited to see what state these previously announced games are in and what kind of games they actually end up being. It’s like a big public presentation of the middle portion of the transition from idea to final product.
With that in mind, there a few games really stood out to me, with a few that may have slipped under the larger coverage of the show.
Ghost of Tsushima – Sucker Punch Studios (PS4) – Release TBA
The games I discuss in Shortcast 59 are only from the Sony press conference. Though I’ll be broadening my scope for this Spotlight, there was one game from Sony’s exhibition really got its hooks in me.
Sucker Punch is a studio with whom I’m nominally familiar. I never played the Infamous series of games, having been an Xbox 360 owner at the time of their release, but the idea intrigued me enough and the general response to the series was always positive, nor had I touched a Sly Cooper game as 3D platformers never really appealed to me despite the series’ general good regard among the community. With that said, I hold neither Sucker Punch nor their upcoming game, Ghost of Tsushima, to any metric aside from what they show of the game itself.
And what they showed of Ghost is fire.
In fact, it seems like a game made specifically for D. Bethel. According to Sucker Punch creative director, Nate Fox, Ghost is a wholly linear, narrative-focused game that takes the player through 13th century Japan in the midst of a war with the Mongols. With that, teenaged Dan, the Japanese history nerd, perked up. Additionally, it’s a historical samurai action game with no supernatural elements whatsoever as Sucker Punch aimed for “a grounded game.” Comicker D. Bethel, who’s making a western webcomic with no supernatural elements, perked up as well. Combined with the deliberate combat that looked similar (though let’s hope it’s not too similar) to Bushido Blade and Way of the Samurai, super gamer nerd Dan became invested.
Like with Rockstar’s Red Dead Redemption before it, the idea of a AAA grounded historical game that isn’t simply a tactical war game nor an RPG seems like an avenue less explored by big studios; so to see Sucker Punch tackle it (and with Red Dead Redemption 2 out this October!), I’m definitely keeping my eye on this one where, before, it wasn’t in my field of vision at all.
Sable – Shedworks (PC only at the time of this announcement) – Late 2019
Here’s where I walk back my console cred and mention a PC game. E3 held what it called its “PC Gaming Show” that showcased upcoming PC games in the same manner that other press conferences showcased console-focused games. Tucked among those games was Sable, and I can’t believe it’s real.
Games––like any art––start with an idea; often, that idea can be rather abstract.
I’ve watched the trailer a few times and I know it’s a game, but I couldn’t tell you what kind of game it is yet. The visuals stunned me. Surely a lot of people are going to be calling this a “hand-drawn” game, which it obviously isn’t. Instead, it’s doing some high-level and artistic cell shading that eerily––EERILY––evokes the work of French cartoonist, Jean Giraud (aka Mœbius). Most accurately, it seems to be an homage to his long-running Métal hurlant (a magazine Giraud co-created and was published in the US as Heavy Metal) strip, Arzach.
Created by the two-person UK developer, Shedworks, their main source of inspiration seems to be from the strides in open-world development that The Legend of Zelda: Breath of the Wild made than directly trying to interpret the work of Giraud into a video game space. Instead, the game apparently focuses more on the exploration and interaction with this breathtaking landscape rather than on RPG-like character growth and battle. Apparently, there’s no combat at all in the game, which is an intriguing proposition (No combat?! How is that even possible?!?!) that brought with it, to an extent, an internal sigh of relief. Finally, something different aside from just the visuals.
My joy doesn’t come from gleefully pointing out that this game seems to ape Mœbius’ style or comic at all––there’s no joy in that––but that this game vivifies his aesthetic perfectly. This must look like what the artist had in his head from which he could only capture still frames and arrange them on a page. Of all the games being written about, Sable genuinely gave me pause.
Sea of Solitude – Jo-Mei (PS4, XBox One, PC) – Early 2019
As an academic English person––albeit one who specialized in Composition and Rhetoric––whenever popular culture reveals a literary depth to it, it draws my attention with laser precision.
I heard on a podcast––sadly, I don’t remember which one, but probably Waypoint Radio––about a game shown during EA’s press conference that caught people off guard because Cornelia Geppert, the creative director of German indie studio, Jo-Mei, got surprisingly emotional and thoughtful when presenting the game, Sea of Solitude.
While “getting emotional” seems to be a highly subjective term––Geppert comes across as more nervous and genuinely excited to show off her game at the largest gaming trade show in the United States––her candor with the game’s themes and what they are trying to say with the game surprised me more.
A major argument in the discourse around games is that they are superficial entertainment, escapist power-fantasy exercises and that’s the baseline level of appreciation for them. Some even argue that such an angle should be our only appreciation of them (“Keep politics out of games!” “Keep your X agenda out of games!” “Games should be more like they were before!” etc.).
The problem with that is games are made by people who think very hard about their games. Like with any creative product (or any product), the consumer doesn’t usually see the majority of effort that went into making it. That’s part of why we are so quick to offer hot takes on games, movies, comics, toys, videos, etc. We are reacting to the product put in front of us, not seeing the complex web of thought, ability, and troubleshooting behind the shiny veneer. To an extent, good games look effortlessly made.
Games––like any art––start with an idea; often, that idea can be rather abstract. This has become more visible as creators have been more vocal with their process. From Hideo Kojima’s thematic and increasingly abstract approach to his Metal Gear Solid series to the small and decisively personal games like Brothers and Papo y Yo, consumers are seeing the level of critical and artistic effort creators put into their games.
Usually we hear these things after a game’s release. That Jo-Mei presented their literary ambition first, before the trailer, partly illustrates why I liked their segment of the press conference so much. This seems like a huge step forward for the developer whose previous games don’t seem like anything that really broke through to the larger critical discussion.
Luckily, the game looks stylish and fun––like LIMBO or INSIDE crossed with a post-apocalyptic anime––I’m excited because it piqued my academic interests while also being a game that––superficially––looks like it’ll be a fun time.
E3 has been particularly exciting this year. After a year or two of the industry being hit hard by extreme successes (2017 was an outstanding year for games) and existential dilemmas (voice actor strike, labor issues, continuing GamerGate behavior), seeing good games at the show as well as developers tackling some of these issues (both positively and negatively) head on puts this E3 ahead in a lot of ways. At the very least, we get good games out of the static as developers, journalists, and players try to move the medium forward and upward.