Loaded Questions is a new weekly feature at Game Bias. If you have a question you would like to submit, please email it to email@example.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.
Daniel Cánovas: The “gaming is art” topic is becoming less interesting to me each day. Maybe only the act of creating them is art, but that’s not the question I want to ask you. Have you ever heard the expression “To read is to live twice”? With this expression in mind, I decided to compare playing to reading, and I ended up developing a short text that made me reappreciate visual novels. Do you think it’s valid at all to say, “To play a video game is to live twice”?
Jed Pressgrove: It’s possible I have heard someone say “To read is to live twice,” but my memory gets worse every year. Regardless, I am familiar with the sentiment behind that expression. There is a feeling among many readers that literature, more so than any other art form, allows one to tap deeply into the human condition and spirit. I don’t feel this way, mainly because a lot of literature is poorly executed.
That aside, my answer is straightforward: sometimes to play a video game is to live twice. I think of Vaida’s Talks With My Mom. Playing that game was like living in two ways that I’ve never lived. I’ve never had to experience the pressure of fitting into a heterosexual feminine category like the girl protagonist; I’ve also never felt the concern of a mother who just wants life to be traditional and simple for her daughter (and herself). In Nier: Automata, I got a strong sense of the hate, fear, and willful ignorance that can drive one to genocide, especially during the segments where I watched the bodies of robots explode due to the lethal combinations and hacks I performed as 9S.
On a final note, as great as “living twice” can be, I don’t think it has to be the ultimate goal of any game. People who expect games to be just like literature or movies or whatever are unrealistic and shortsighted. Games can be many things. They can be living twice, they can be sports, they can be puzzles. I try to appreciate and criticize them for what they are.
Álvaro Rico: What do you think is the most important factor for you personally at the time of writing a good review?
Jed Pressgrove: Conviction. I have to believe in what I’m saying, even if no one shares my opinion. I have to be willing to put my thoughts and feelings out there. Style and technique are important, but if I didn’t have conviction, I wouldn’t bother writing reviews.
Serge Soucy: After watching some footage of Detroit: Become Human, I began to think about choice in video games. I’m not talking about how a player would approach a situation (for example, “Should I attack a monster from afar or up close?”), I’m thinking more about games with morality systems that are designed to challenge players’ minds. What are some great examples of games where choices made have real implications that arouse emotions, and what’s the worse case of a game that tries to cash in on this idea but fails to do so?
Jed Pressgrove: To address your first question, the first game that comes to mind is Choice: Texas. In my review, I talked at length about the story of Leah and how the game’s presentation of choice emotionally transcended the dialogue that the United States was having about rape and abortion.
Another game that fits your description is the original Fallout. There are few games with Fallout’s level of freedom. During one game of Fallout, I decided to kill everyone, whether I would deem them bad or good. Just kill every last person I could find. What started out as an amusing diversion for a kid (I was in my teens at the time) ended up giving me an incredibly hollow feeling. It wasn’t just that I had made a complex game one-dimensional; the experience suggested that exterminating life can never satisfy a person.
You might also be interested in The Witcher 2: Assassins of Kings. A pivotal decision in its first chapter has an undeniably large effect on the game’s second chapter and how you perceive the different factions and individuals in the story.
As for your second question, I’d have to go with Telltale’s Game of Thrones. It is by far the best example of a game whose only purpose is to cash in on the idea of emotionally charged choices. Telltale’s work (and its influence) is largely a disgrace to storytelling and game design, and Game of Thrones’ mindless imitation of the HBO television show cannot be excused in any way.