anti-rural

Game Bias’ 10 Worst Video Games of 2017 and Play-Instead List

by Jed Pressgrove

Although 2017 has nothing on 2015 in terms of its overall share of terrible games, several works this year showed a special hatred for rural folk and places. This trend shelters the political egos of fools that think people who live outside of cities are largely deranged, clueless, and hopeless. The biggest monsters in one’s mind will always be the biggest monsters in one’s world, regardless of the diversity that spans all of humankind.

You’ll notice I’m doing something different this year with the list. For each of these reprehensible choices, I will suggest a game you should play instead. The catch is I’m only going to recommend alternatives that are far from perfect but nonetheless do more than enough things right to rise above the following junk.

1. Resident Evil 7

Many in the gaming world said this embarrassingly unoriginal sequel was a return to great horror for the Resident Evil series (note: Resident Evil has always been more corny than disturbing). More than one reason can explain why this questionable claim was made: virtual-reality hype; the bizarre sentiment that a first-person perspective is automatically revolutionary; and a conscious or unconscious feeling that we all should be very frightened of people who live in the country. Resident Evil 7 has sexist and racist ideas, too — just more crap often accepted as classic horror.

(See full review of Resident Evil 7 here.)

Play Instead: Prey

Like Resident Evil 7, Prey is a first-person shooter influenced by horror movies, but Prey has a less discriminatory perspective on humanity and, in stark contrast to the dull inventory of its urban-snob counterpart, features one of the most inventive weapons of the year: the Gloo Cannon.

2. Doki Doki Literature Club!

Dear Dan Salvato,

I realize you think portraying girls as out-of-control lunatics somehow subverts anime, manga, and dating cliches. Unfortunately, horror movies have been portraying the female sex in this way for decades. Back to the drawing board.

Sincerely,

Game Developers’ Favorite Critic

(See full review of Doki Doki Literature Club! here.)

Play Instead: Little Nightmares

While Little Nightmares doesn’t try to reject conventions or go meta like Doki Doki Literature Club!, it earns its tension more honestly with technically exquisite imagery.

3. Troll and I

The bugginess of Troll and I is what horrible legends are made of. Publisher Maximum Games should go to confession, if not to prison, for the monstrous sin of releasing this poor excuse for a game.

(See full of review of Troll and I here.)

Play Instead: Destiny 2

Destiny 2 waters down the very idea of shooting a target and trying out new firearms, treating almost every gun as an opportunity to make consumers feel comfortable and smooth. The jumping in the game feels like something out of a rejected Nintendo Entertainment System platformer. And its ramblings about Light make its morality more superficial than that of Star Wars. But at least the product works.

4. Outlast 2

Games can be understandably critical of religion (see The Binding of Isaac and Fire Emblem Echoes: Shadows of Valentia), but Outlast 2 hatefully portrays people of faith in incomprehensible, psychotic terms. The game’s shallowness is particularly noticeable given that the protagonist, despite having gone to a Catholic school, shares no clear opinion on matters of providence and religiosity. And of course, all of this madness is possible due to backward rural savages, including women who think murdering their children is righteous. What a shocker.

(See full review of Outlast 2 here.)

Play Instead: Stranger Things

This free mobile game, evocative of NES and SNES games, is little more than a nostalgic way to market a supernatural television show, yet it’s still more inventive and less reliant on trial-and-error challenges than Outlast 2.

5. Wolfenstein II: The New Colossus

This first-person shooter recreates adolescent 1990s ultraviolence, but it’s also a kind of political commentary that paints idiotic ideas, such as anonymous KKK members walking around in a Nazi-dominated society, as profound. Don’t be fooled by the blaxploitation stereotype, the naked pregnant woman gunning down bad guys, or the half-baked portrayal of a half-Jewish protagonist: this game upholds the indestructible white-hero formula with a degree of stupidity that must be seen to be believed. You certainly have the right to buy into the notion that Wolfenstein II: The New Colossus functions as some cathartic, telling spectacle, but you’re going to wake up the next day with the same level of insight into the world, and you can’t just shoot the troubles away.

(See full review of Wolfenstein II: The New Colossus here.)

Play Instead: The Surge

Both The Surge and Wolfenstein II: The New Colossus involve a hero leaving a wheelchair thanks to advanced technology. The difference is The Surge understands that competition, not phony-baloney heroism, drives the culture of capitalism, and that’s something we have to resist.

6. Night in the Woods

In a society where the gap between the rich and the poor seems to grow as we speak, the treatment of the privileged millennial protagonist in Night in the Woods is especially insulting. With a smart-ass vibe, developer Infinite Fall allows Mae Borowski, the central figure of the game, to go hog-wild in a deceptive depiction of a working-class community and attempts to pass off this story as indicative of something real. It’s one thing to examine an obviously flawed character; it’s another thing to try to make someone believe that almost everyone around the punk would ultimately put up with her. The implication of the grave-digging sequence — that no one would care about a boy’s corpse being defiled — shows a disgusting level of incoherent “progressive” cynicism.

(See full review of Night in the Woods here.)

Play Instead: Uncharted: The Lost Legacy

Imperfect protagonist: Chloe Frazer > Mae Borowski. Believable outraged friend: Nadine Ross > Bea Santello.

7. South Park: The Fractured But Whole

If this game represents the satire of our time, may Jonathan Swift rise from the grave to mock us. South Park: The Fractured But Whole’s cowardly, trite approach to comedy is immediately apparent. The opening tries to make fun of the political framing of the Zack Snyder film Batman v Superman: Dawn of Justice, but the attempt falls flat because a superhero movie, of all things, has more to say about the current disarray of the United States than South Park creator Trey Parker, who helped direct and write this game. Even if you ignore the recycled shit jokes and lazy racial humor, this RPG fails to be engaging. As in the 2014 predecessor South Park: The Stick of Truth, exploration is a bore because the environment is too familiar and standardized. And if the combat in The Stick of Truth was an uninspired take on Super Mario RPG, the battles in The Fractured But Whole suggest an idiot’s perspective on tile-based tactics.

Play Instead: Dujanah

Jack King-Spooner has made far better games than Dujanah (Beeswing, Will You Ever Return? 2, Sluggish Morss: A Delicate Time in History). Yet the fictional arcade within it alone is more clever than The Fractured But Whole, with experiences that effectively lampoon pop hits (such as F-Zero) and even a decent juvenile spoof called “Pie or Anus.”

8. Valkyria Revolution

If nothing else, Valkyria Revolution proves that a game can’t make a serious statement with flippant dialogue and incessant loading that destroys the drama and pacing of a story. This disaster by Media.Vision offers another lesson, too: if you forget video-game history, you’re unlikely to surpass or even match superior work. For anyone who has experienced the measured real-time action of the 1990s games Secret of Mana and Secret of Evermore, Valkyria Revolution’s cruise-control approach to battle is unacceptable.

(See full review of Valkyria Revolution here.)

Play Instead: Cosmic Star Heroine

This independent RPG knows history better than Valkyria Revolution. Developer Zeboyd Games acknowledges its influences and builds on them, delivering one of the most fascinating takes on turn-based combat this year.

9. Everything

David OReilly continues to pretend like he has a grasp on the nature of existence in Everything. And just like they did when OReilly released Mountain in 2014, some people continue to eat it up because they think whimsy equals wit and insight.

(See full review of Everything here.)

Play Instead: ATV Renegades

ATV Renegades shows that being down to earth, and making people laugh in the process, is underrated.

10. Tekken 7

No pop game confirms the sorry conservative state of fighting games more than Tekken 7. Namco’s allegiance to Capcom is obvious in the camerawork, the “new” mechanics, and the inclusion of boring bad-guy Akuma.

(See full review of Tekken 7 here.)

Play Instead: Arms

Leave it to Nintendo to try something distinct within the fighting-game genre. Even if the game isn’t always fair or focused, its weirdness is offset by how uniquely it articulates the importance of footwork and orthodox/southpaw dynamics.

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Resident Evil 7 Review — Make (Urban) America Hate Again

by Jed Pressgrove

One of the most superficial claims about Resident Evil 7: Biohazard is that it brings the Resident Evil series “back to its roots.” What this game, written by westerner Richard Pearsey, actually does is reuse anti-rural American horror cliches while sporting a “new perspective,” as if making a first-person title is revolutionary. With this in mind, Resident Evil 7 is most accurately described as a nostalgic survival-horror reboot for city snobs.

Set in rural Louisiana (again, not Resident Evil’s roots), Resident Evil 7 puts you in control of Ethan Winters scouring the home of a “hick family” (to quote condescending critic Simon Parkin) for his missing wife Mia. The proceedings get grotesque quickly: within an hour or so, you will be invited to eat maggot-ridden food and then chased around the house by drawling patriarch Jack Baker, a villain who recalls Nemesis from Resident Evil 3. With his own life on the line, Ethan must fight back with a standard array of weapons (knife, pistol, shotgun, grenade launcher, etc.) that feel like a sentimental regression from the superior combat options of Resident Evil 4.

Although Pearsey eventually provides an extraordinary explanation as to why this rural place and family are so decrepit, his script borrows heavily from American films like Texas Chainsaw Massacre, Deliverance, Wrong Turn, and others that suggest rural people are backward. Pearsey’s co-opted vision reveals its contempt for country folk with ridiculous dialogue (“Welcome to the family, son.” and “Rise and shine, sleepyhead. It’s time for supper.”) and references to outdated items like VCRs (which doubles as a treat for nostalgia-obsessed nerds). The implication is that rural people already talk and live funny in their isolation, and when you mix this existing idiocy with nasty science fiction, you have what many critics and fans have called a return to scariness.

Only problem is you’d have to be oblivious to or willfully ignorant of the movies that Resident Evil 7 copies to find this garbage shocking. Even if Pearsey isn’t as snooty and resentful as his script suggests, you would think he, one of the writers of the deconstructionist Spec Ops: The Line, would be more aware of how unoriginal and cheap this horror story is. When you approach a refrigerator to read notes like “Male 20s Portly BBQ,” you have to wonder how anyone living in the Information Age could overlook the vicious repetitiveness of this rural cannibalism idea, which was also excused when it appeared in the second episode of Telltale’s The Walking Dead. That critics like Parkin would compare this slasher-film crap to Truman Capote’s multidimensional brilliance shows you how delusional a city snob can be.

Curiously, this same type of audience, supposedly progressive, has glossed over the racism and misogyny of Resident Evil 7. The deputy David Andersen is a textbook example of a token black character who is only there to die. And not only does he die, but Ethan, upon finding David’s corpse in a dissection room, quips “Poor deputy.” In one stroke, developer Capcom gets in its minimal diversity quota, and in another stroke, the company implies the black guy doesn’t matter anyway. In another scene, you fight Jack’s wife Marguerite. Here, Pearsey confirms his unexamined urban bias with Marguerite’s line “There’s no escape, city boy.” This dialogue comes at about the time you discover Marguerite’s weak point: her exposed, corrupted vagina. It’s a shameful way of degrading an already-savage rural caricature.

Pearsey does offer Zoe, Jack and Marguerite’s daughter, as a counterexample to her family’s inherent backwardness. Still, Zoe seems like more of a plot device compared to how writer/director Eli Craig uses the character of Allison to show a genuine connection between rural and non-rural people in the sociological masterpiece Tucker & Dale vs. Evil. Craig’s film exposes Pearsey’s low standards for horror writing and raises legitimate points about how fear on both sides of the urban/rural divide results in destruction. Resident Evil 7 only offers longstanding stupidity to go along with its clunky action — a frightening combo for all the wrong reasons.