resident evil 2

What Do Video Game Remakes Say?

by Jed Pressgrove

Note: This is the first essay of a seven-part series on game remakes. Check out the rest of the series here.

It catches my attention that a significant portion of the film-watching audience lets out a groan whenever it hears about a classic movie being remade. A number of people will even act like they’ve swallowed puke after one mentions the very idea of a movie remake. This type of reaction goes beyond personal taste. That so many show obvious repulsion speaks to a culture larger than the individual, a culture that holds particular works of art sacred.

Even though video game fans can be among the most rabid fans of anything on this planet, I don’t see as much dismay among gamers when, say, another Resident Evil remake is announced. It’s of course possible that some of us are so jaded about the greed of the game industry that we can’t be bothered to become disgusted by such an announcement — particularly when the announcement comes from Capcom, a company whose output suggests that it can’t grasp the principle of leaving a good game alone. But given the extremely warm reception to remakes like Resident Evil 2 or Final Fantasy VII Remake, a great many players are not cynical about industry trends, much less critical of the notion of tampering with masterworks.

Game remakes often arrive with similar justification. Game consoles have short lives, meaning that countless people may never experience the original versions of all-time significant releases. Companies, or one of their unpaid shills on social media, can simply remark that the industry is broadening the contemporary audience’s exposure to the classics — and updating that which no longer works, that which has aged too much.

Indeed, if historical appreciation were the point, there would be more emphasis on faithful, painstaking restoration of the games in question. The industry and fans, by and large, share a conviction that modern technology and modern design norms can improve games created with older technology and older design norms. Or if you want to get right to the point: modern games are inherently superior. Now you might say, “That is a revolting thing for the industry to push!” Well, not if you ask those who call these remakes brilliant and needed. There’s a big market for remakes of what we might call canonical games. Compared to film lovers, gamers are strangely willing to accept, or even request, remakes of canonical works. The explanation for these contrasting behaviors lies in a simple cultural difference: the gaming world doesn’t revere or respect that which it claims is great. I think about all the years I listened to people say Final Fantasy VII is the greatest RPG of all time, only to see glowing approval in 2020 for the remake of the supposed existing masterpiece. At best, greatness in games amounts to socially reinforced dogma with an expiration date. At worst, it is forgotten or discarded history.

Perhaps there’s something likable about the lack of sacredness in the gaming world, especially if we argue that art and entertainment shouldn’t be a religion. And yet there’s a rigged nature to the promotion of video game remakes, a religious tautology that tells us that today’s productions are better. How are they better? Ask no more:

Smoother polygons.
Smoother controls.
Smoother translations.
Fully animated figures.
Fully orchestrated music.
Fully tested experiences.
More items.
More songs.
More enemies.
More dialogue.
More minigames.
More mechanics.
More characters.
More voice acting.
More sound effects.
More detailed sprites.
Bigger worlds.
Shorter loading times.
Streamlined menus.
Flexible save systems.
Hints.
Maps.
New visual effects.
New settings.
New story.
New engine.
New levels.
New quests.
New game plus.
Redone.
Revamped.
Reworked.
Revived.
Reimagined.
CONTENT.
BE CONTENT.
BE CONTENT WITH CONTENT.

Try arguing with the bullet points above, you no-good consumer morons! That’s what video game remakes are saying to us.

Game Bias’ 10 Worst Games of 2019 and Play-Instead List

by Jed Pressgrove

2019 was the most regrettable year for pop games, at least based on my experiences with the world’s biggest hits throughout my life. Other years have perhaps featured more bottom-of-the-barrel releases, but 2019 defeats all when it comes to setting a low standard for overall quality and artistic expression. During the majority of 2019, no matter what kind of game it was, from Dead or Alive 6 to Wilmot’s Warehouse to Death Stranding, I felt as if I wanted to spit the lukewarm out of my mouth.

Two years ago, I started the Play Instead part of this annual year-end list. The idea is simple: for every bad game, I suggest one you should play instead for whatever reason. The catch is “play instead” choices don’t have to be great or even good games. While this list follows that same logic, keep in mind that we really shouldn’t, outside of comparisons for argument’s sake, settle for less than good. Video games can be, and have largely been, better than the offerings of 2019.

1. Resident Evil 2

If the 2010s proved anything, it’s that Capcom has embraced the absolute worst version of itself. The original Resident Evil 2 is an imperfect but fascinating and discomforting game. Here it is transformed into the most agreeable ride imaginable. Gamers, you’ve nothing to worry about. Papa Capcom’s gonna take care of you — and take your money while he burps you.

(See full review of Resident Evil 2 here.)

Play Instead: Earth Defense Force: Iron Rain

Developer Yuke’s does the opposite of Capcom. It makes Earth Defense Force even tougher and more thematically incisive than usual … until Iron Rain seems to give up on level design and satire more than halfway through.

2. Hypnospace Outlaw

Yet another independent title that presents tedious desk work as insightful entertainment. I’d rather peruse MySpace than spend another minute with Hypnospace Outlaw.

(See full review of Hypnospace Outlaw here.)

Play Instead: Nauticrawl

From developer Andrea Interguglielmi, Nauticrawl is like going to work but having no idea what you’re supposed to do to finish the job. Tinkering with switches, buttons, and levers in a mysterious machine makes for a solid puzzle. Bonus: No smug indie pretension to be found.

3. The Outer Worlds

The brighter colors, the humorous descriptions, the almost identical perks, the inelegant slow-motion action. All of it points toward a development team whose only goal was to produce a neutered version of Fallout 3, which was a neutered version of its predecessors. At this point, I wouldn’t be surprised if someone remakes The Outer Worlds with a different name.

Play Instead: Outer Wilds

If The Outer Worlds is a lesser version of Fallout 3, Outer Wilds is a better version of No Man’s Sky.  Yes, I know that’s not saying much, but we’re reaching the outer limits of good taste.

4. Control

As Matt Paprocki suggests, Control wants to be a left-wing statement of resistance in a most irresponsible, dimwitted way, but players don’t mind or notice because they’re conditioned to enjoy guns (even if they don’t own or use any). Control is Doom 2016 all over again: shoot fast and keep moving. Who knew political critique could be so formulaic?

Play Instead: Void Bastards

The title and gameplay loop of this brilliantly animated game appear to satirize people who find meaning and purpose in terrible things. Void Bastards is smarter about its lack of seriousness than Control is.

5. Devil May Cry 5

After one hour of playing the original Devil May Cry, I was intrigued by its counterintuitive adoption of Resident Evil’s changing camera angles and by the kinetic potential of its marriage of melee techniques and frantic gunplay. After one hour of playing Devil May Cry 5, I was tired of douchebag characters trying to look and act cool, as every time the fighting was about to take center stage, another cutscene would interrupt the action. Capcom sucks now.

Play Instead: Katana Zero

Like Devil May Cry 5, Katana Zero has its share of played-out ideas. Despite its limitations, Katana Zero reveals the fundamental loneliness of its protagonist in quiet scenes that recall the contemplative minimalism of the 1967 film Le Samourai.

6. Blair Witch

The real title of this game is Blair Glitch.

(See full review of Blair Witch here.)

Play Instead: Devotion

Just kidding. You can’t play it. But I managed to. It’s better than Blair Glitch. Its jump scares and hackneyed first-person haunted-house style also teach us a valuable lesson: banned art isn’t always good art.

7. Contra: Rogue Corps

Konami turns Contra into an arena shooter for modern audiences. Would probably be more popular with critics if it took shots at Donald Trump.

(See full review of Contra: Rogue Corps here.)

Play Instead: Sunless Skies

Unlike Contra: Rogue Corps, Sunless Skies is a sequel that understands where it comes from and where it should go. Although it ditches the lovable pirate-like dialect that energized the text of Sunless Sea, its more understated use of language is still a hoot: “He’ll receive the care of Magdalene’s finest. At least, Magdalene’s finest with a sense of charity, given that he has nothing on him to pay for their ministrations.”

8. Sekiro: Shadows Die Twice

The subtitle for Sekiro should have been “Shadows Die Countless Times,” as there’s nothing new about dodging and parrying boss attacks a la Dark Souls, and stealth tactics make most of the proceedings a cakewalk. Notwithstanding the incoherent claims of brainwashed From Software diehards, Hidetaka Miyazaki’s games are now more predictable than they are difficult.

(See full review of Sekiro: Shadows Die Twice here.)

Play Instead: Vane

Though it lacks combat, Vane is closer in spirit to Dark Souls than anything Miyazaki has produced after 2011. Both puzzling and ambiguous, Vane technically collapses before it ends, but what a memorable failure it is.

9. Star Wars Jedi: Fallen Order

Earlier this year, I played Star Wars: Dark Forces. It’s a great example of kinetic art that not only takes inspiration from but also builds on the work of a source (namely, the original Doom). Star Wars Jedi: Fallen Order’s more plagiaristic approach is unimpressive, if not unacceptable.

(See more thoughts on Star Wars Jedi: Fallen Order here.)

Play Instead: Slay the Spire

Plenty of games copy and paste the turn-based combat systems of the past. But Slay the Spire’s card-deck-building premise, which will punish those who don’t pay attention to mathematical detail, brings a reasonable amount of creative forethought to a well-worn idea.

10. Neo Cab

Neo Cab often preaches about the inhuman qualities of corporations and technology, but so many of its features seem robotic rather than authentic, whether it’s the ever-shifting eyes of its protagonist, the out-of-place soundtrack, or the silly mood bracelet that restricts dialogue options. Humorless and dull, this game lacks the humanity that Deirdra “Squinky” Kiai captured in 2015’s Conversations We Have in My Head.

Play Instead: Disco Elysium

The dialogue of Disco Elysium can feel contrived from time to time, but its illustration of psychological struggle is more convincing and dynamic than Neo Cab’s forced stream-of-consciousness narrative.