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Shortcast 57 – Fair Point, Dude

Shortcast 57 – Fair Point, Dude

WEEK IN GEEK: Andrew goes back to his undergraduate roots and dives into programming with the Unity engine via the online programming courses taught through Udemy while D. Bethel updates his nostalgia with the Super NES as he plays around with Analogue’s Super Nt system.

RELATED EPISODES:

INFO:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“District Four” by Kevin McLeod (incompetech.com)*
-“Disco Medusae” by Kevin McLeod (incompetech.com)*
*Tracks are licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/

Shortcast 50 – The 2Day Show

Shortcast 50 – The 2Day Show

WEEK IN GEEK: Andrew dives into “the German Stranger Things” as he watches the first three episodes of the Netflix series, Dark, while D. Bethel gets lost in an RPG-tinged clicker game called Almost a Hero by Bee Square Games.

RELEVANT LINKS:

INFO:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“District Four” by Kevin McLeod (incompetech.com)*
-“Disco Medusae” by Kevin McLeod (incompetech.com)*
*Tracks are licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/

Spotlight: ‘Masterpieces’ Are Better With Flaws

Spotlight: ‘Masterpieces’ Are Better With Flaws

Far Cry 5‘s muddled political message is better for gaming than a perfect one.

The announcement events and imagery set up Far Cry 5 to be a game with a lot to say about modern American politics. Image source: Ubisoft.

Upon its announcement last year, Far Cry 5‘s political promise attracted the liberal gamer base (and disconcerted conservative gamers) as it seemed to be aiming strictly at the American Christian fundamentalism and rural conservatism that have been at the front and center of the country’s political discourse since the last presidential election. With the game’s release and the reviews rolling out, it’s clear that while it is, mechanically, a fun game to play, it doesn’t stick the landing in terms of cultural political commentary.

Instead of taking a hard stance on the current political climate, it tries to straddle the fence, to not take sides and, instead, treat the threat of fundamentalist conservatism as an exaggerated skin draped over the ludic need for opposing forces to attack the player. In this game, the cannon fodder is simply “crazy cult member”,  similar to the shift Resident Evil made away from zombies to Othered, uneducated, Spanish, feral, rural villagers in the fourth game (which they doubled-down on in the fifth game by moving out of Spain and into Africa). They may have a different story and context, but they were basically just zombies to shoot down––targets to hit for a “higher score.” Despite oblique references to modern political situations (including a mission built around obtaining a “pee tape”), Far Cry 5 seems to play the politics off as a joke when it pops up at all.

The last few years have really seen an effort to fold political commentary into game narratives and, as it stands now, the results seem to be less than effective albeit provocative. From the nuanced existential dread of the indie darling, Papers, Please, to the hyperbolic but consistent Wolfenstein II: The New Colossus, the efforts have been teaching us that developers, at the very least, are ready to tackle such subjects even if their hold on the language, narrative agility, or tools to effectively enact such commentary remains debatable.

This static speaks to the point that how to tell a good story in a game is nebulous at best as gaming is not––unlike books, movies, comics, and tv––a one-sided narrative act. Games are by their very nature interactive and, therefore, the success of the narrative quite literally falls into the hands of the players, be it their attention to the story as they play or the choices they make in-game and how they line up with the intent of the developers. Narrative is still a messy, complex, and delicate aspect of video games.

Papers, Please largely succeeds with its politics, though its retro aesthetics, somewhat limited availability, and esoteric gameplay could keep it from a larger audience. Image source: 3909 LLC.

This results in a lot of “flawed masterpieces”––good games like Far Cry 5 that don’t quite stick the landing. The aforementioned Wolfenstein II offers distinct answers to the political problems it confronts, but can be undermined by its wildly shifting tone from the touchingly serious to cartoonish absurdity. Watchdogs 2 (also from Far Cry‘s developer, Ubisoft) was largely a success but dropped the ball in crucial instances that harmed the efficacy of its thesis. Most publicly, Bioshock Infinite had a huge backlash to its initial critical success as people ruminated on its message after playing the game and found a lot to be troubling. Mafia III, in contrast, seemed to have a strong, clear, and evocative stance on race in the sixties, but the game part kind of faltered. Similarly, Papers, Please had a strong emergent political statement that was powerful for those who played it, but its indie status and, perhaps, esoteric retro aesthetics (as well as limited availability) probably kept it out of the hands of many potential gamers.

Arguably, no game has hit the landing when it comes to political commentary. Something always comes along and taints the potential and lays the game down as a “flawed masterpiece.” If it were to happen, no doubt it would most likely be out of accident than design. Video game narrative is arguably still in a fledgling state, with detractors even stating that story is not wholly useful to the medium (which Andrew and I talked about in Episode 133). So, it’s important to keep in mind that the  growth of the medium (of any medium) includes heavy-footed attempts and stumbles.

Narrative is still a messy, complex, and delicate aspect of video games.

As a whole, we are still learning how to tell stories in games. It’s problematic because the technology for game development continues to surge forward as well and the bouncing between the two often feels like a scrimmage rather than a handshake. However, the key word there is “learning.” The way we generally learn is through metacognitive reflection of what we have already done, examining our past missteps in order to make the next attempt better.

And that is where these flawed masterpieces are actually helping the community rather than harming the medium. When Far Cry 5, in this case, so overtly stated that it would be a game with something to say at its announcement, only to walk that back as quickly as possible, the final product’s failure to live up to that promise got the community talking about politics in games, much as games––flawed as they are––like Wolfenstein II, Papers, Please, and Bioshock Infinite did before. This conversation exposes the nuance in the medium and actually helps to establish a baseline of what the community wants, expects, and hopes for in the future. These missteps encourage the audience (gamers, critics, and journalists) to become part of the process instead of simply waiting for the developers to simply say what they want to say (or say what they think we want to hear) and wait with gritted teeth to hear if they got it wrong. While that very scenario was the impetus here, the resulting conversation seems productive rather than agonistic.

That the community is talking about how to tell a political story in a game narrative is generative and progressive for the medium and the culture. Even among gamers themselves, having a game act as the discursive crux around politics, gaming, and narrative shines a light of hope on a community that has done more than its share to darken the skies on those topics. Our culture has evolved us to a point where political discussion mimics sports fandom––picking a team and shouting at the competition. Productive conversation is less about right and wrong and more about looking at the successes and failures of an idea, pointing them out, and making decisions based on them.

Wolfenstein II: The New Colossus may have been over the top at times, but it inspired genuine conversation about politics in gaming. Image source: Bethesda Softworks

More importantly, the community needs to have these conversations with itself more than it needs an effective political statement in a game. If a flawed game gets us to not only intelligently critique and what-if a game but also examine ourselves as a community––to reflect on our goals and diversity––then I would rather have that than The West Wing of video games.

The fallout from Far Cry 5‘s narrative failure will fuel more nuanced and interesting attempts (that will no doubt fail in their own ways) in the future, but the point is that those attempts will be better. What effect does a “perfect” statement have? What benefit comes from the community just sitting back in admiration? What happens to the knowledge we gained from the experience if we treat it as something that has been checked off of a list?

Perfection is boring. Gaming, like politics, always changes as time moves forward. The conversation about the successes, failures, and potential of a game serves as inspiration to be and do better next time be it from Ubisoft, a competitor, or an independent developer––as long as it keeps us talking.

Shortcast 49 – The Sweet Beats

Shortcast 49 – The Sweet Beats

A DIFFERENT WAY TO GAME: Andrew has been playing through Fallout 4 on a survivalist mode, which dramatically changes the way he normally plays Fallout. This got him thinking about ways people have challenged themselves to play games differently––sometimes within the scope of what developers intend and sometimes not.

RELATED EPISODES:

WORKS CITED:

RELATED LINKS:

INFO:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“District Four” by Kevin McLeod (incompetech.com)*
-“Disco Medusae” by Kevin McLeod (incompetech.com)*
*Tracks are licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/

Shortcast 47 – The Finest in Lottery Scratcher Technology

Shortcast 47 – The Finest in Lottery Scratcher Technology

WEEK IN GEEK: After weeks away, Andrew and D. Bethel return to talking about the geeky stuff they’ve done in the last week. Andrew plays Pandemic Legacy: Season 2 and is much surprised considering his views on the first game. D. Bethel dives into a different kind of legacy by looking at the first volume of All-New Wolverine as Laura Kinney (formerly X-23) takes the mantle of “Wolverine” from her (at the time) deceased…uh…father? Brother? Twin? Whatever. #comics

Also––a News Blast breaking story about All-New Wolverine and its cancellation announcement made this week.

RELATED EPISODES:

RELATED LINKS:

INFO:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“District Four” by Kevin McLeod (incompetech.com)*
-“Disco Medusae” by Kevin McLeod (incompetech.com)*
*Tracks are licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/

Shortcast 44 – The Game of Life

Shortcast 44 – The Game of Life

WEEK IN GEEK: Andrew plays Cellar Door Games’ follow up to their previous hit, Rogue Legacy, with a multiplayer brawleRPG, Full Metal Furies, while D. zones out––and has a lot of fun doing it––with Grey Alien Games’ new solitaire/visual novel/RPG, Shadowhand.

RELATED EPISODES:

RELATED LINKS:

INFO:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“District Four” by Kevin McLeod (incompetech.com)*
-“Disco Medusae” by Kevin McLeod (incompetech.com)*
*Tracks are licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/

Shortcast 41 – An Accident of Fiction

Shortcast 41 – An Accident of Fiction

WEEK IN GEEK: D. Bethel squabbles over the storylines left underdeveloped in Netflix’s western limited series, Godless, while Andrew dabbles in the interesting RPG system found in Evil Hat Productions’ Fate Core.

RELATED EPISODES:

RELEVANT LINKS:

INFO:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“District Four” by Kevin McLeod (incompetech.com)*
-“Disco Medusae” by Kevin McLeod (incompetech.com)*
*Tracks are licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/

Episode 154 – The Slowest Burn

Episode 154 – The Slowest Burn

WEEK IN GEEK: Andrew plays the mashup tabletop game, Betrayal at Baldur’s Gate while Dan goes for the yards in Supergiant Games’ latest release, Pyre.

THE RELATION BETWEEN TEXT AND AUDIENCE: Andrew, spurred on by his experiences playing Fallout 4‘s DLC, “Automatron,” and Dan, inspired by his playing of Pyre, talk about how texts can have different impacts––and lead to very different experiences––for their audiences. Movies have spoilers and twist endings while video games of optional side-quests and branching paths of narrative. How much of a role does the audience have in telling the story? How much control do we, as an audience, want?

RELEVANT EPISODES:

RELEVANT LINKS:

WORKS CITED:

INFO:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“Disco Medusae” by Kevin McLeod (incompetech.com)*
-“Sixty Minute Man” by Billy Ward and the Dominoes
-“District Four” by Kevin McLeod (incompetech.com)*
*Tracks are licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/

Episode 153 – Back Off the Wagon

Episode 153 – Back Off the Wagon

A WEEK IN GEEK: Before things get started, D. talks about becoming mildly internet famous for about a day (the social media accounts of his favorite band, Twisted Sister, shared art he made of each band member). For those wondering, here’s the scene from Pee-Wee’s Big Adventure in which Twisted Sister appears:

INDIE ACCOLADES: Andrew and D. talk about the world of independent creation––mostly games, mostly video games––and how it works in the face of the big corporate franchises discussed for the past few weeks.

WEEKS IN INDIE GAMES: Andrew and D. mention a few indie games that they’ve been enjoying over the last month or so. Andrew discusses his love and frustration with Thomas Happ‘s metaroidvania Axiom Verge and Powerhoof‘s Crawl. D. keeps returning to the existential dread that is noio‘s  Kingdom: Classic as well as to the hilarious existential horror of Kitfox GamesThe Shrouded Isle.

WORKS CITED:

INFO:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“Disco Medusae” by Kevin McLeod (incompetech.com)*
-“District Four” by Kevin McLeod (incompetech.com)*
*Tracks are licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/

Shortcast 39 – Holidaycast 01

Shortcast 39 – Holidaycast 01

WEEK IN GEEK: To ring in the holidays, Andrew and D. Bethel take the time to bring you another Week in Geek Shortcast. This week, Andrew plays Greenheart Games’ Game Dev Tycoon on iOS (after having previously played it on Steam), while D. talks about the interesting time-travel, existential narrative of the Jean Grey limited series from Marvel.

RELATED EPISODES:

RELEVANT LINKS:

  • The new Dan & Rusty Video Game Power Hour that went up this week, featuring Deadpool (kind of, not really) and Battle Chasers.

INFO:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“District Four” by Kevin McLeod (incompetech.com)*
-“Disco Medusae” by Kevin McLeod (incompetech.com)*
*Tracks are licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/