In an interview with Polygon, Cory Barlog, director of God of War (Sony Santa Monica 2018; hereafter GoW4), notes that the studio’s explicit goal is to address the underlying social implications of the franchise in order to “pull [Kratos] back from the brink” and make him “whole” (Plante, pars. 8 and 9). The interview’s headline says it all: “God of War’s director on toxic masculinity and why Kratos had to change.” Barlog attributes this impulse to redeem Kratos to his own experiences with fatherhood and a desire to prevent the continued dominance of problematic notions of masculinity: “This lesson that I hoped to pass on to [my son]: that the concepts of strength and emotional vulnerability and the ability to sort of be free to feel the range of emotions, that these are not two warring or diametrically opposed concepts” (qtd. in Plante, par. 7). Continue Reading
Within the last twenty years, the discussion around whether videogames are art has been in a state of rapid flux, with prominent debates focusing on topics of cultural legitimation and identifying relations to various historical avant-garde movements. Many of these conversations have relied on positioning videogames as a novel medium which needs to be both defined and defended, often in relation to other media forms with longer, established histories such as film and literature. As Aubrey Anable (2018) states, throughout much of gaming history a common assumption about what obstructed videogames from achieving the status of fine art was their apparent inability to “affect our feelings” with the recurring question as to whether or not they can make us cry (location 34). Continue Reading
Indie developer Supergiant Games’ Transistor (2014) is a brooding yet beautiful cyberpunk-noir story that features Red, a woman struck mute by a shady elite organization, and her companion, the disembodied voice of a man emanating from a futuristic USB-drive-slash-broadsword.
Red’s muteness places her squarely in a long tradition of silent video game player characters who exist less as integral parts of their personal stories, and more as hollow interfaces for players to project their will into the game’s world and narrative. Continue Reading
Samantha Webb holds a Master’s degree in Game Design from Brunel University, London. She is a freelance games writer and narrative designer, working with both AAA and indie studios to develop games. She has an interest in second-level storytelling and… Continue Reading
Jason Wallin is an Associate Professor of Media and Youth Culture Studies in the Department of Secondary Education at the University of Alberta. He was raised by wolves in the hinterlands of British Columbia. For Doug M. Since its release… Continue Reading
Music has the unique ability to bring people together and speak to them on a fundamental, subconscious level (for more on this, see Ehrenberg and From Lullabies). This aspect of music plays an important role in the narrative of Far Cry 5 (Ubisoft, 2018), as Joseph Seed, the game’s primary antagonist, uses music as a powerful tool for recruiting people into his doomsday cult, the Project at Eden’s Gate. Indeed, Far Cry 5’s music ties more closely with its narrative than any previous game in the series; by exploring its music, we may better understand the populist belief system that underlies Joseph’s “fringe” doomsday preaching. Continue Reading
During its reveal at the 2014 BlizzCon, Overwatch introduced players to its vibrant and colourful world with the character Tracer announcing that “the cavalry’s here!” (“The Exhibit”). This line now functions as her signature phrase, perhaps reflecting the continuously expanding roster of characters and collection of media that make up Overwatch’s story universe. Continue Reading