broken age

Loaded Questions Vol. 3

Loaded Questions is a new weekly feature at Game Bias. If you have a question you would like to submit, please email it to pressgrove84@yahoo.com or tweet it to @jedpressfate. Questions can cover anything closely or tangentially related to video games or art, including but not limited to criticism, culture, and politics. Questions may be edited for clarity.

Question 1

Ryan Aston: What do you think is the all-time worst game you’ve ever had the misfortune of playing, and how far did you play through it? Articulate why you consider it to be the worst, be it unplayably broken, thematically offensive/incoherent, or whatever. Same question for all-time worst movie you’ve seen.

Jed Pressgrove: There are so many candidates for the worst game I’ve ever played. For instance, there’s Messiah the Healer, a free game at Game Jolt that trivializes the miracles of Jesus Christ. Then there’s Pregnancy, which, as I said in my review here, uses “in-detail rape to hook you into a shallow lecture on abortion debate.”

But the king of bad games is Ryan Lambourne’s The Slaying of Sandy Hook Elementary. To make a point about gun control, this game allows the player to assume the role of Sandy Hook murderer Adam Lanza and shoot as many kids and teachers as possible at the elementary school. Afterward, the player must start over and use a sword to try to kill the same number of people. The idea is that, naturally, you wouldn’t be able to kill as many people with a sword, thus identifying gun control as the answer to the issue. Lambourne doesn’t consider, however, that his point will be lost on anyone with a shred of respect for the real-life victims of the crime. What decent person wants to reenact real-world carnage and tragedy, especially when it’s obvious that Lambourne is pushing propaganda and hoping to be seen as an important game developer?

As for worst movie, that’s easy. I have to go with an atrocious Japanese film my friend got me to watch: Killer Pussy. The name says enough, but to go into more detail, the story concerns a woman with a parasite in her vagina that kills people. If the concept alone isn’t enough to disgust you, everything about this movie is terrible. The most laughable part of the film is the special effects. In certain scenes, the parasite is depicted with the worst CGI you can imagine. In other scenes, the parasite is a puppet. I doubt Jim Henson would be a fan.

Question 2

Erlend Grefsrud: Do you see games as expressions or contrivances? Elucidation: expression is “communicating an intelligible intent,” while contrivance is “struggling to cohere.”

Jed Pressgrove: My first instinct was to say that a contrivance can be an expression (a bad one). But based on the two specific definitions here, I’d say the majority of games seem more like contrivances than expressions. We can see this in the way games often awkwardly transition between cutscenes and actual play. We can see this in the way games frequently tutorialize, suggesting that developers struggle to present rules and ideas intuitively. I suppose I could go on and on. I feel a lot of my reviews have an underlying anger about contrivances.

There is one thing I want to point out in light of recent dialogue about Far Cry 5. I agree with the critics who suggest Far Cry 5 is a contrivance. At the same time, just because something is a contrivance doesn’t mean it lacks ideology. In addition to the right-wing ideology I discussed in my review, Far Cry 5 also pushes a conservative game-design ideology that favors contrivance over expression. It’s interesting to me that many critics who dismiss Far Cry 5 as a contrivance are willing to accept an ideology of contrivance in other games when it suits their desires and worldviews.

Question 3

Martina Eva: Do you think there’s any potential left in the classic graphic adventure format?

Also, where do you think game criticism is heading?

Jed Pressgrove: Yes, there is definitely potential left, but developers have to play a careful balancing act. Mere homage to the genre is not good enough anymore, and to play off the point about expression and contrivance above, special care has to be taken with how, for example, puzzles are designed. Tim Schafer’s Broken Age both illustrates the potential of the genre and the pitfalls that developers should avoid. Broken Age is split into two games. The first game (or Act 1), in my estimation, is fairly brilliant. Act 1 of Broken Age allows the storytelling to dictate the puzzles. This approach gives the game an organic quality, and because of this, the story in Act 1 is able to make a powerful statement about how gender and race can divide us and bring us crashing together when we least expect it. Schafer, unfortunately, pisses all this potential away in Act 2, which features one contrived puzzle after another. It’s clear that Schafer backed away from his more creative instincts when he made Act 2.

Your second question is tough! There are a lot of critics out there, so you never know who might capture people’s imagination. But right now, I fear game criticism is headed toward more deception and marketing. Specifically, I think you’re going to see a lot more critics who claim to be more analytical than the obvious game-enthusiast movement, but instead of catering to people who worship games, they will cater to particular political factions. Now, I’m not saying game criticism shouldn’t be political, but there is a difference between the following two things: (1) the personal politics of the critic coming out as part of their creative expression within the art form of criticism and (2) the critic functioning as a lackey for a particular political persuasion. A critic in either case can be “liberal,” for example, but the second type will almost always fall on the most obvious, pandering side of liberalism. The second type will also be far less willing to consider the artistic merit of work that doesn’t cater to their political faction’s whims. The disgusting part is that game companies are becoming increasingly aware of this unexamined bias, and they’re ready to exploit critics with politicized marketing. Look at how Bethesda’s marketing for Wolfenstein II: The New Colossus panders to the “Punch a Nazi” crowd. Look at how games keep overusing the word “resistance.” Look at how the developer of Kingdom Come: Deliverance implies that a lack of racial diversity automatically equates to “historical accuracy.” Instead of ignoring this type of marketing altogether, many critics want to be a part of the publicity, whether good or bad, and they’re ready to redraw the lines that divide us, all in the name of ego and success.

Question 4

Adam Eisentrout: Was there one specific game that made you want to be a game critic or write specifically about gaming?

Jed Pressgrove: If I must boil it down to one game, it would have to be Blazing Lazers. It wasn’t the first game I wrote about, but it was the one that made me want to be a dedicated game critic. I first played Blazing Lazers after I had become a bit jaded about video games, and its brilliance showed me that sometimes you have to search for greatness rather than expecting it to show up for you in the popular channels. On a very basic level, Blazing Lazers made me excited to write about games.

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Game Bias’ 10 Best Video Games of 2014

by Jed Pressgrove

There is no critical value in hyping any conception of “video game,” traditional or otherwise. The following works simply accomplish their goals, modest or not, better than the numerous other 2014 games that I played.

Note: You can check out my 10 worst video games of 2014 here.

1. Jazzpunk

Jazzpunk’s emphasis on derailing plot, a cue from the Marx Brothers, turns video game campaigns and side missions into farce. (People who pontificate about “narrative” or “gameplay” might be too jaded to laugh, though.) Developer Necrophone Games’ dedication to irreverence outplays Obsidian Entertainment’s adolescent marketing and genre triteness in South Park: The Stick of Truth. Jazzpunk never gets haughty about the artificiality of games and takes joy in the absurd possibilities of the form.

(See full review of Jazzpunk here.)

2. Choice: Texas

Some say “every game is political” and others say “keep politics out of games,” but I often get the sense people are talking more about how game content either massages or insults their partisan egos. The life politics in Choice: Texas reject partisanship to explore practical, emotional, and spiritual concerns. Text-based second guessing conveys how policy, family, religion, school, and work can lead pregnant women to visit and revisit decisions that are as sociological as they are personal.

(See full review of Choice: Texas here.)

3. Talks With My Mom

Unlike Mountain, Talks With My Mom is a masterpiece of minimalism. The game’s focus on mother and daughter confronts the anxiety of raising children and growing up gay, trumping the lack of sociology and dignity in Gone Home’s horror cliches. Even if someone says “not a game” in regard to Talk With My Mom’s ultra-simplistic clicking (which allows the player to punctuate mood and control pacing), developer Vaida’s statement on identity and gender is undeniably mature, non-judgmental (the mother isn’t presented as a mere bigot), and clear.

(See full review of Talks With My Mom here.)

4. The Talos Principle

If it were only a collection of puzzles, The Talos Principle would be impressive and worthwhile. The puzzler further distinguishes itself by addressing the voice of God and the voice of reason. Avoiding propaganda, The Talos Principle magnifies the human vulnerability and intellectual conflict within the Garden of Eden story, an account that is usually analyzed from one-dimensional viewpoints. The smattering of philosophical texts might be tedious, yet this bombardment captures the challenges of thinking in the (Mis)Information Age. The game achieves the most clarity in connecting deity and human as players. The urge to solve puzzles, to be a creator of order, explains more than The Stanley Parable’s smug and obvious design lesson.

(See full review of The Talos Principle here.)

5. Beeswing

One can almost see the human hands that crafted the art and music in Beeswing, but the result still seems magical, particularly during the best video game song of 2014 that dares to express the alienation of the elderly in nursing homes. Beeswing’s checklist of activities represents what a person hopes to accomplish going back home rather than the common attempt in games to glorify content. Even among provocative work like Sluggish Morss: A Delicate Time in History and Will You Ever Return? 2, this is Jack King-Spooner’s masterpiece.

Full disclosure: I backed the Kickstarter for Beeswing, but only at the level that allowed me to download the game. Moreover, I do not plan on backing another Kickstarter for a video game. The whole process annoys me.

6. Amazing Princess Sarah

Just ignore how developer Haruneko advertises this game as yet another breast-obsessed adventure on Xbox Live Indie Games. Not satisfied with retro sentimentality like Shovel Knight, Amazing Princess Sarah expands the strategic possibilities and challenges of Super Mario Bros. 2’s enemy throwing. This platformer also gives the “new game plus” concept memorable purpose, outdoing the beat-it-twice legend of Ghosts ‘n Goblins. The rule changes in each version of Amazing Princess Sarah can make difficult sections easy and easy sections difficult, inspiring new appreciation of the game’s five levels.

(See full review of Amazing Princess Sarah here.)

7. Shutshimi

The direction of Shutshimi borders on the avant-garde. The alternating 10-second bursts of shooting and power-up selection defy conventions, especially when you’re forced to choose from power-ups that are almost certain to lead to your death. The narrative of a fish defending his home is punctuated by constant human bicep flexing that recalls the homoerotic overtones of Cho Aniki. Neon Deity Games has created the wildest shooter of our time: a high-score exhibition that celebrates and parodies masculinity.

8. Broken Age Act 1

Tim Schafer’s direction in Broken Age Act 1 is virtuosic. The two stories tie together brilliantly in terms of theme and plot. The voice acting blows away the amateurish efforts of countless bigger-budget games. Although some puzzles might require backtracking, Broken Age is designed to allow a much faster pace than most point-and-click adventures. Broken Age always seems one step ahead with its punchlines, inviting the player to goof off as much as advance.

9. Replay Racer

Mario Kart 8 might have helped make 2014 a banner year for Nintendo banality, but that latest entry of an overrated franchise can’t match the innovative fun and challenge of Replay Racer. Developer Chris Johnson turns every completed lap into a juggernaut that you have to avoid and outrace. By the sixth and final lap, you’re competing against five of your own Frankensteins. If arcades were still respected, Replay Racer would be a hit.

(See full review of Replay Racer here.)

10. Temporality/Snot City/The World The Children Made

Cheat Code: Allow Three Choices for One Spot. Down, Up, Down, Up, Enter.

These three games from James Earl Cox III weren’t released as a trio, but they stand out together in 2014. Temporality gives a more respectful and thoughtful tribute to what is lost in war than Ubisoft’s Looney Tunes/Pokemon treatment of World War I in Valiant Hearts. Snot City exposes formulaic item collection as juvenile horror. Finally, The World The Children Made is a timely adaptation of Ray Bradbury’s short story, warning millennials and their offspring of the potential dehumanization of technological convenience and privilege.