by Jed Pressgrove
Sight gags, silly dialogue, running jokes, mindless destruction — no type of humor is too lowbrow for Jazzpunk. This approach rejects an overwhelming seriousness that threatens to stop video games from evolving as entertainment. Some critics may not realize it, but Jazzpunk is a challenge to jadedness and egotism.
Remember how Papers, Please evoked the Soviet era to incite misery and guilt? Jazzpunk’s mockery of intelligence gathering wishes to return us to higher spirits. The game’s irreverent take on globalism recalls the absurdity of the great Marx Brothers political comedy, Duck Soup. Rather than contribute to political or cultural malaise, Jazzpunk looks for every opportunity to cut up (notice that the game’s title reconciles two musical genres at odds). Despite its nods to the Cold War and other things of the past, the game is clearly a comedy for the present.
Before Jazzpunk, I would’ve been hard-pressed to recall a recent game that truly exercised the healing power of laughter. Games like Portal and Saints Row might be funny, but their humor is treated as secondary to gameplay expectations (in the end, no more profound than cute ’em ups like Star Parodier). If the puzzler and action mechanics of Portal and Saints Row had been unfavorable, those games wouldn’t have made much of an impact on gamers. In contrast, Jazzpunk will only make a significant impact if it makes you laugh, as it’s designed to make you laugh by any means possible. Jazzpunk’s story and gameplay are merely subservient, so the game’s success is partially based on whether one is willing to forget the pretenses of story and gameplay. Critics and gamers looking for a traditional or abstract story will be disappointed, and Jazzpunk’s “adventure” gameplay is only fulfilling when it helps make a good joke.
Though somewhat reminiscent of The Stanley Parable, Jazzpunk doesn’t pander to cynicism or self-congratulatory criticism, nor does it insult one’s intelligence by sharing obvious lessons about game design. Jazzpunk has fun at the expense of Street Fighter II, Quake, and the Virtual Boy’s Mario’s Tennis (among others), but it doesn’t dismiss the essence of these games, nor does it shoehorn references to pander to fans (unlike The Stanley Parable’s circle jerk with Minecraft and Portal). Never insistent, Jazzpunk allows you to wander or follow the main mission. Jokes spill out of the game no matter the playing style. The game only denies catharsis to those who don’t laugh.
Unfortunately, by not appealing to the ego of video game critics, Jazzpunk has opened itself up to some lame reviewing. Metro GameCentral complains about the lack of gameplay in Jazzpunk but also calls the more minimalist Gone Home and Stanley Parable “inarguably better games.” Polygon describes Jazzpunk as “a great first-person conversation” (whatever that means). Destructoid’s review says the game “just ends with no real resolution.” Unbridled levity is strange or sinful in a gaming world that often looks for reasons not to laugh.