Artstyle and Ludonarrative Dissonance

Artstyle and Ludonarrative Dissonance

Video games as a medium have historically been heavily reliant on visuals as shorthand. Whether to aid in immediately familiarising the player with the kind of world they are about to partake in, or cluing them in immediately to the genre, how a game is visually presented plays a not-insignificant role in shaping the player’s expectations when going into a new gaming experience. When done in a standard way, the visual presentation of a game sets players on the right path to navigating the game and its systems, but that is not to say that there haven’t been games that have used their visuals to trick the player and challenge their expectations, leading to a sense of ludonarrative dissonance.

Jesper Juul, author of “The Aesthetics of the Aesthetics of the Aesthetics of Video Games”

An example of visuals working as a tutorial to steer players in the right direction can be observed in Breath of the Wild (Nintendo, 2017). When Breath of the Wild first appeared on the scene, it was the first truly open-world Zelda game since the original came out in 1986. Players familiar with the standard Zelda formula would need a simple yet comprehensive tutorial to introduce them to the idea of greater freedom and creative expression that the game provides. To that end, the tutorial area of the Great Plateau exceeds as a safe environment in which players are shown the basic mechanics and environmental challenges they will face in the playthrough to come. As mentioned in Juul’s “The Aesthetics of the Aesthetics of the Aesthetics of Video Games”, just to the left of where the player emerges there is an area that visually lets the player know that it is too cold for the player character, Link, to enter. Right next to the entrance of the frigid area, there is a cluster of spicy peppers. The peppers give off a faint sparkle, visually indicating to the player that they can interact with the items. If the player is to give in to their curiosity and ‘pick up’ the peppers they are greeted with the flavor text: “This pepper is exploding with spice. Cook with it to create dishes that will raise your body temperature and help you withstand the cold”. Through deliberate placement and subtle visual cues, the player now understands that if they encounter an environmental hazard in the game world then they can use items such as the spicy pepper to mitigate the effects. 

The player can find sparkling, cold-mitigating Spicy Peppers outside of the cold area

In fact, Breath of the Wild’s art style was chosen for the purpose of making it easier for the player to be able to visually distinguish between the background, enemies, and interactable pieces of the environment. When discussing why cel-shading was chosen for an earlier game in the series, The Wind Waker (Nintendo, 2002), developer Satoru Takizawa stated that using this cel-shading made it easier to “represent the mechanisms and objects for puzzles [in The Wind Waker] in a more easy-to-understand way” (IwataAsks, 2013). Similarly, cel-shading was chosen in order to make information easier to represent in the game world. 

The Wind Waker, a cel-shaded game

But again, not all games use their visuals in such a way as to lead and guide the player. In fact, the graphic art style of the game Undertale (Toby Fox, 2015) goes a long way to mislead the player. The game employs a 2-D, pixelated art style with simple yet distinct character designs, very reminiscent of Earthbound (Ape, 1994), a game from which Undertale takes great inspiration. As a so-called ‘Earthbound-clone’, Undertale does not seem to shake off what its visuals suggest: that the game is a turn-based RPG where players fight and defeat wacky monsters. With this framework in mind, new players will dive into Undertale, likely killing any monsters that approach them in the random encounter system. This is how Undertale tricks its players. By playing in a way typical of the 2-D turn-based RPG, players are actually ignoring the correct way to play the game, which consists of sparing every single enemy, not killing one single creature. 

This bait-and-switch that occurs on the visual level is supplementary to the contrast that can exist between the gameplay of Undertale and the story and message that lies at its root. The game is ultimately about justice, mercy, and challenging preconceptions on what it means to be a ‘monster’. One of the first characters the player meets is a monster named Toriel. She guides players through the tutorial area, the Ruins, and gives them this crucial advice: “While you are in a FIGHT, strike up a friendly conversation.” This is the players’ introduction to the Spare and Mercy mechanic, which appears last on the battle UI, after Fight, Act, and Item. With the Mercy button so far from the default action, the game seems to be visually indicating that the Mercy option is superfluous and almost a gimmick, similar to a Pray mechanic that appears in Earthbound. With every fight, the player is given the option to fight their opponent to the death or spare them. Fighting, gameplay-wise, seems to be the best option as it allows the player to gain EXP points and level up, however, as the game progresses, the environments and character interactions will start to change significantly depending on if the player has killed enemies, spared them, or done a mix of both. This can create a divide between the player’s actions and the story of the game, leading to a sense of ludonarrative dissonance. It is the player’s choice to fight or to show clemency to the monsters, but the messages of pacifism and justice prevail regardless. 

The battle UI of Undertale with the ‘Mercy’ option highlighted

Ultimately, how a game is visually presented, whether through art style, level design, strategic item placement, UI setup, or character design, can and does play an important role in guiding players and setting up expectations for both gameplay and story. The interaction and contrast between how a game visually presents itself and the narrative can also enhance the story and themes of a game, subverting player expectations and feeding into a sense of juxtaposition between what a player is either doing or wants to be doing and what the narrative paints as the correct path.

Bibliography and Works Cited 

Juul, Jesper. “The Aesthetics of the Aesthetics of the Aesthetics of Video Games: Walking Simulators as Response to the Problem of Optimization”. 12th International Conference on the Philosophy of Computer Games Conference, Copenhagen, 2018.

Seraphine, Frederic. (2018). The Rhetoric of Undertale-Ludonarrative Dissonance and Symbolism.

Takizawa, Satoru. Interview. Conducted by Satoru Iwata via IwataAsks, 18 September 2013.Nintendo EPD. (2017). The Legend of Zelda: Breath of the Wild, Nintendo (Switch).

Toby Fox. (2013). Undertale, Toby Fox (PC) 

How Video Games Get YOU to Pay

I recently got my first ever Nintendo Switch in my life. I was so excited to start playing games like Smash Bros, Pokemon, and Mario Kart that I always wanted to try on a Switch. However, I was not as ecstatic when I went to the Nintendo eShop and realized that these games cost on average more than $50. While I understand that developing good quality games require time and investment, this misalignment between what I thought video games could cost and the reality did prompt me to think more critically about the business behind video games. 

A view of the Nintendo eShop. There are some games that cost almost $60.

To offer a little more insight on my background, I am not much of a gamer. I have never owned an Xbox, Playstation, and as I mentioned before, just had my first Switch. I mostly played casual games on my phone and have never spent anything more than $4.99 purchasing games. Therefore, it was quite a shock to me when I saw games charging more than $20 on these platforms. Nonetheless, after doing some research and reflecting on my experiences playing free-to-play games, I realized that video games are able to make a profit one way or the other.

Pay-to-play Video Games:

Pay-to-play video games refer to games that require an up front purchase before being able to access the game. A common trend that I noticed is that pay-to-play games are more common on console and PC systems compared to mobile games. The typical price range of these games could go anywhere between $1 to more than $60. However, after purchasing the game, the typical gaming experience would not require anymore transactions. The game would not contain any advertisements nor any distractions that distort the gaming experience. Some pay-to-play games also offer in-game purchases that allow players to buy power-ups or cosmetics. However, in my experience, the more expensive the pay-to-play games, the less likely that it will offer in-game purchase options. This streamlined gaming experience is a great feature of play-to-play games; however, it also bars players who are unable to afford the game. 

Free-to-play Video Games:

Free-to-play video games are games that do not require any upfront purchase to access. They are most common on mobile devices, but there are also wildly popular games on the console and PC systems. While the game itself is free, some games periodically impede players’ in-game progression by forcing players to view ads. Free-to-play video games are also guaranteed to offer in-game purchases for power-ups and cosmetics. Everyone can enjoy free-to-play games, yet I came to realize that there seems to be a culture of correlating fancy cosmetics to a player’s skill and dedication to the game, especially in multiplayer games. The games themselves play on this psychology by offering exclusive effects and perks for players who make these purchases. There is a level of exclusivity and superiority built in the game to encourage players to make these purchases.

League of Legends, a popular free-to-play game, offers many cosmetics that can be purchased in-game.

At the end of the day, game development is an expensive and time consuming process, and the game developers should be rewarded for their hard work. However, maintaining the balance between making a profit and turning a game into pay-to-win is a delicate task. Many games have fallen into the trap of greed, and as a result, players have reacted by leaving the game. The pay-to-play and free-to-play game models both offer their unique perks, but they all have avenues of generating cash. While the prosperity of the video game industry will attract more game development and innovation, I would caution everyone to think twice before spending a substantial amount of money on games.

I found this video very insightful in highlighting some of the practices that games employ to encourage players to make purchases.

-Ryder

I’m Fighting for My Life in the Comments Section – On Liking a Contentious Game

Every time I see Xenoblade Chronicles 2 trending, I feel a not-insignificant amount of apprehension. Why, you might ask? After all, it is one of my favorite games of all time. Well, it’s because for the past 6 years, delving into any discussion even tangentially related to XC2 is a veritable landmine for a fan like me. 

Xenoblade Chronicles 2 Monolith Soft, Nintendo, 2o17

Xenoblade Chronicles 2 is the 2017 direct sequel to the niche but beloved 2010 JRPG Xenoblade Chronicles. It’s a very beautiful game, both visually, narratively, and emotionally, but you wouldn’t know that from swimming through the sea of hot takes on Youtube, Reddit, and Twitter. XC2 has long been presented as the worst thing to happen to gaming, with critics often pointing to the voice acting, character designs, and convoluted plot as a reason for their ire. 

An example of Youtubers expressing some disdain for XC2. The bottom Youtuber, BeatEmUps, admitted to not even finishing the game.

And I’m not here to argue their opinions or tell them they are wrong. No, of course not. Everyone is entitled to their opinions and obviously, my personal favorite game won’t always be the taste of all gamers. What I am saying, though, is it is so demoralizing as a fan to constantly be inundated with pure hate and negativity for a game that is so close to my heart. For years, you could not make a post or video praising XC2 without someone commenting about every reason under the sun why it sucks. 

What makes the matter even more frustrating is that many of these takes are actually coming from people who have self-identified as having either never played the game or never having progressed past chapter 3 (of a 10-chapter story). Almost as if they are just jumping on the bandwagon of hate and disrespecting all who find even a smidgen of joy in something they have already deemed as “cringe” or “anime trash”. 

Various Youtubers’ reactions to the final chapter of XC2

It’s not all frustration, though, and I do want to end this post on a high note. Like its predecessor, XC2 is a very niche game, but it has found its home in the hearts of thousands of fans. The emotional journey the game puts the players through and its culmination in a heart-rending 30-minute ending cutscene will often leave players a mess of tears and swirling feelings. It is these reactions I love to see. To re-experience this game and the highs and lows it offered me through the eyes of a first-time player. It helps me see that there are many like me who appreciate this game for the work of art that it is. 

And with the more recent release of Xenoblade Chronicles 3, more and more opinions on XC2 have started to shift, where people appreciate the (relatively) lighthearted atmosphere of XC2 after experiencing the almost unrelentingly bleak world of XC3. It is nice to finally see XC2 get its due. 

Heck, maybe today I’ll be brave enough to take a peak at the trending topic.

Animal Crossing: Comfort in World Crisis

It all starts in March. You’ve just come back from spring break, refreshed and ready for the home stretch of spring semester. You and your friends are counting down the days until Animal Crossing: New Horizons comes out, and life feels good. You’ve seen all the trailers and game-play videos you can get your hands on, and plans are already in place to attend the midnight release with your friends. It’s been 8 years since the last game, and after being delayed for another year back in 2019, it’s finally here. Then, life turns upside down. The rumors you’ve heard about this new coronavirus from overseas are true; it’s in America, and spreading fast. You pack up your campus life in 2 days, say goodbye to friends (some of which you don’t know for how long), and prepare for a new mode of learning for the rest of the semester, at home. Life keeps going. You may be set up in your childhood bedroom while continuing work for an undergraduate degree, but at least Animal Crossing hasn’t gotten delayed again!

Animal Crossing: New Horizons came out March 20^th, 2020 on the Nintendo Switch. It is a simulation game where the player lives on an island with their many anthropomorphic animal friends, interacting, decorating and completing tasks for the good of the community. The timing of the release of this game was perfect; Nintendo couldn’t have chosen better even if they tried. One week into quarantine, just as the weight of the pandemic was setting in, and now players everywhere could forget about the uncertainty of the world and create their own. With its wide range of customizations, items, and characters, it truly did feel like your own world. The game may be simple in nature, but this ends up becoming one of its greatest strengths. Animal Crossing’s simplicity in mechanics and objectives made this game even more appealing, especially as life was getting more complicated. As you start building up your island and spending more time in the world, you care more and more about how your island looks and how your islanders are doing. The game soon becomes addicting, as most do, but unlike others which have an end, Animal Crossing is open-ended and even follows the real passage of time. This aspect of the game keeps players coming back, as new insects, fish, and events keep the game feeling different each time you log on.

My in-game character catching a bug.

It wasn’t just in the gamer community that this game blew up, but all across social media, especially on the video app TikTok. Countless players showed off their islands, outfits, and houses, inspiring more people to purchase the game, even going as far to buy a Switch for the sole purpose of playing Animal Crossing. The community this game formed was robust and inclusive, providing a form of interaction online when there could not be any in person. The Switch’s online feature also contributed to the vast community. For the first time ever, players can visit each other’s worlds and interact with each other in game, including making in-game money by buying and selling turnips in the Stalk Market.

My friends and I playing on one of our islands.

Animal Crossing is still a part of my life now, and logging in every few weeks to visit my islanders and experience the change in season brings back a strange nostalgia for the beginning months of quarantine. The vivid emotions I associate with this game show how much it kept me going during this time, and knowing that many other people feel the same makes me realize the impact something like this can have. At this point I have over 150 hours logged in the game, and even though my island is finished, I’ll continue to play for the simple joy of Animal Crossing.

Example of character customization

Luigi’s Mansion 3: Luigi’s Spooky Spotlight

You hear the familiar “W-a-a-a-a” that Luigi screams and suddenly you’re transported back in time to when you first played Luigi’s Mansion on your Game Cube as a child. Mario and Luigi are perhaps one of the most classic video game duos, but Mario definitely makes it bigger than Luigi in regards to character development, play time, and games as the main character.

Luigi’s Mansion GameCube 2001 Trailer, Listen for Luigi’s “W-a-a-a”

Mario and Luigi, the famous Nintendo brothers, have a line of games in which they are both equally featured. Some of these games include Mario and Luigi: Paper Jam, Mario and Luigi: Dream Team, and Mario and Luigi: Superstar Saga. However, there are way more games that star Mario than Luigi. For example, Super Mario Galaxy, Super Mario Oddessy, and Paper Mario (to name a few). Luigi, the less-appreciated brother, really only gets to be the main character in Luigi’s Mansion, but that is part of what makes Luigi’s Mansion so special.

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Mario & Luigi video games, all on the Nintendo 3DS (left to right: Paper Jam, Dream Team, and Superstar Saga)

Luigi’s Mansion, the 5th best selling GameCube game, follows Luigi as he attempts to suck up ghosts with the Poltergust 3000, invented by Professor Elvin Gadd, or E. Gadd for short. Luigi arrives at the mansion because he won a free mansion in a contest he did not enter (a pretty obvious sign that he shouldn’t be going to the mansion, in my opinion). Luigi soon learns that King Boo, another character in the Mario franchise with not enough character development, built the mansion to free ghosts who had previously been captured by E. Gadd. 

Luigi’s Mansion 3 game over screen. If you see this, you lost and King Boo is about to freeze you in a picture frame with Mario, Peach, E. Gadd, and some toads

Fast forward around 18 years and Luigi’s Mansion 3 is released on the Nintendo Switch as a Halloween special. Enter me, in the middle of the COVID-19 pandemic, with a newly purchased Switch. Luigi’s Mansion 3 on the Switch switches (ha-ha, pun intended) things up in a few ways: a brand new model of the Poltergust called the Poltergust G-00, new moves, and a new sidekick named Gooigi. The Poltergust G-00 is equipped with the abilities to stun, suck up, or shoot plungers at ghosts, which comes in handy to slam big boss ghosts or to break treasure loose from different items around the hotel. Luigi also comes with new moves like the ability to slam ghosts or jump into the air.

Watch the Volpin Props team bring the Poltergust G-00 to life!

Finally, Gooigi is a clone of Luigi but made out of goo, which comes in handy to slip through bars and walk over spikes, but be careful not to get him wet because he will melt! Gooigi is one of the best parts of Luigi’s Mansion 3 because it allows you to play with multiple players on the same mission. There is also a fully multiplayer option at the ScreamPark (a park filled with many, many ghosts) but Googi allows you to play with two people through the main story.

Gooigi slips through the bars of the hotel store to help Luigi find the next elevator button.

My favorite part about playing through Luigi’s Mansion 3 has been the amazingly detailed mansion floors with themes such as a garden floor, a kitchen floor, an opera floor, and a film studio! For me personally, the detailed depictions have drawn me most into the game, more so than the ghost fighting and Mario saving components of the game.

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  Floor 7

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  Floor 11

Luigi’s Mansion 3 floors with extremely detailed imagery

With Halloween coming up this week, I hope you all consider playing Luigi’s Mansion 3 for good scares, ghosts, and adventures! Happy Halloween!

An Overpriced Anniversary: Super Mario 3D All Stars

The first video game console I ever owned was a Gameboy Advance: a Nintendo product. As I grew older, I acquired many different pieces of equipment to play video games on, such as an Xbox 360 and two different gaming laptops. Even with this variation, it seems as if I have always owned and used at least one Nintendo product, whether it was the Gameboy, a Wii or, as it is now, a Nintendo Switch. To say Nintendo has been a large part of my life would be an understatement, and although I have owned countless Nintendo consoles, there is a main reason I keep coming back to buy more from this company: Mario.

One of the first two games I ever owned was Super Mario World: Super Mario Adventures 2, and this marked my first foray into the world of Mario platformers. The controls were tight, the atmosphere of the game was cute and energetic, and beating levels actually made me feel like I was accomplishing something, that I was getting better at a task. From that point on, I owned many different Mario titles, including Super Mario Galaxy, arguably the best and most inventive platforming game ever made. The important thing about Mario is that he will always be the hero. Growing up as a “video gamer”, it was comforting to know that when I got home from whatever type of day I was having, Mario would be there ready to win with me in some way. To this day, Mario still helps distract me, and I honestly cannot see a point in the future where that will change.

Taken From Wired.com

Just as I have a tenured history with the beloved plumber, Mario has an even longer history with Nintendo, this year being the 35th anniversary of the first Super Mario Bros. game on the Nintendo Entertainment System (NES). In his lifespan, Mario has appeared in over 200 different games, either as the main character or as one of many, such as in the game Super Smash Bros. Even though the sales numbers show the logistic importance of the character for Nintendo, Mario has become his own individual entity as billions of people around the world could probably name him if shown his picture. From his iconic triple jump “wahoo!” in Super Mario 64 to his unmistakable hat, Mario is an extremely distinct character in a world filled with hundreds of thousands of video game protagonists.

Taken from Nintendo.com

There is a real sense of magic surrounding Mario, partly steeped in the fact that he has evolved in tandem with the video game industry. As game companies moved from 2D to 3D graphics, Mario also took that leap. Mario is a video game behemoth, and Nintendo has full control over all of his marketing and selling power. With this in mind, it is no surprise that on September 18^th, Nintendo released “Super Mario 3D All-Stars”, a collection of the first three AAA 3D Mario titles ever to be released (Super Mario 64, Super Mario Sunshine and Super Mario Galaxy). I, along with countless other Mario fans, had heard rumors of this product for a couple of months through different online forums and websites like reddit. There were an unbelievable amount of theories surrounding the release and what would be included, but no one predicted what Nintendo actually did with this hot commodity. In fact, the actual release of Super Mario 3D All Stars came with tons of criticism, most of which I agree with. The main points I have seen across all the complaints can be narrowed down to two main issues: the game has a limited release time and Nintendo only offered these three games for the deal.

Taken from medium.com

Super Mario 3D All-Stars was released on September 18, but it has an end date of March 31, 2021 for when people can buy the collection. As a superfan who was going to buy the collection no matter what, this time constraint was not an issue, but I see that for many others, this could prove a serious problem as the question of affordability can come into play. Although all games in Super Mario 3D All-Stars are remastered for the Switch, this does not take away from the fact that these games are all recycled. For many, this will be the second or even third time they have purchased the game. If you were budgeting how much you spend on games and Nintendo says you only have X amount of time to buy their game, it puts an awful pressure on people to buy the game because they will not be able to get it ever again. It takes advantage of people’s love for Mario, their desire not to miss out on any of his games.

Taken from nintendo.com

The issue tied to which games were included in the collection also shows a predatory pricing scheme by Nintendo. The biggest game missing from the collection was Super Mario Galaxy 2. Almost every post or YouTube video I watched on the topic reflected anger towards Nintendo for not adding it. Now you may be asking, “you are getting three games for $60, why would Nintendo have to add another game for this collection to be worth it?” There are two answers to why Nintendo should have done better. First, Nintendo’s contemporaries have released similar and cheaper remastered collections with the same amount or even more content (e.g., Crash Bandicoot N.sane Trilogy is $40). Second, if Super Mario Galaxy 2 was not released with the original collection for the switch then Nintendo must have plans to sell the game as its own purchase either as DLC or even as a re-release of an individual title. They obviously have the technology to remaster the second Mario Galaxy, but the fact that they did not include it shows that the monetary incentive of their 35^th anniversary was more compelling to them than the true catering to their fans.

So, as a superfan, it’s definitely difficult to come to terms with the actions of Nintendo. Being connected and loyal to a specific character should not be a chore in money management. Rather, it should be something to look forward to with no strings attached. In all honesty, I feel disappointed and betrayed by Nintendo, and I know I am not alone. I, along with all of the other Mario fans, have supported and endorsed Nintendo’s past plans for releasing Mario content; their actions force us to question why they took a perfect opportunity to give some cheaper fan service to their customers and instead charged it for premium? Anniversaries of important figures, even fictional, to different communities are supposed to spread the love and message of the original creation or entity. This business decision by Nintendo is a failure to their loyal and devoted fans.

Taken from nintendeal.com

Nintendo is not EA, but in this scenario, they seem to be acting like them. EA is known for microtransactions, and although these actions by Nintendo are not as blatantly “money hungry” as EA, their real intentions are clear. The question, then, is will Nintendo continue to make decisions like this because they can, or will they try harder in the future to make their fans happy?

-Joseph Finkelstein

Ace Attorney’s Twist on Law and Lawyers In the Media

Phoenix Wright Ace Attorney is a 6 game series (11 including spinoff story games) made by Capcom on Nintendo platforms, iOS, and GooglePlay stores. This adventure visual novel mainly follows Phoenix Wright, an upcoming defense lawyer in a world of crime where his defendants seem guilty without a doubt.

Cover of first Ace Attorney Game, 2001

Now you may be thinking, “Why would I play as a lawyer? That’s boring,” and yes, it may sound boring, but the creators at Capcom were incredibly creative in their storyboarding and character design/development. These games may not be too popular in America – yeah, my friends had no clue what this game was – but they are EXTREMELY liked in Japan. There is a great demand for more games in the series, along with an anime series and a musical production, but what is so intriguing about a lawyer game?

Scene from the Ace Attorney Musical

As mentioned before, Phoenix Wright Ace Attorney follows Phoenix Wright, a young defense lawyer who takes on murder cases where there seems to be no hope in his clients to be innocent. He works alongside a young spirit medium in training (yes, it seems a bit out there, but stay with me), who also influences the cases and Phoenix’s success. As a defense attorney, Phoenix goes head to head against a series of corrupt prosecutors whose main goals are to get Phoenix’s clients declared guilty. This gives Phoenix, and the player, the motivation to get a “not guilty” verdict and to help the defenseless. But beyond all of this, there is something else that gives Ace Attorney its charm: the characters and the pacing of the story.

There are a handful of recurring characters within the game that old players love to see reappear every now and then. The repetition of characters in different murder cases was a strategy of the creative team due to the lack of sprite storage in the first production of the game, but concerning actual gameplay, the reoccurring characters make the world seem more familiar to the player so, even in the most outrageous murder cases, the player has some sense of familiarity. Also, each new case reveals more about the characters, whether it is a backstory, a newfound alliance for the future, or both. The player even learns about Phoenix Wright, even though they are playing as him in the game. However, the intensity of the courtroom during the case can be seen as a stressful back and forth between Phoenix and the prosecutor, the periods in between are key for character development in the game.

There are two main parts of the game that alternate as time passes: courtroom disputes and investigation time. As Phoenix Wright, the player is to assume that the detectives investigating the case only find surface-value evidence, which means that it is up to Phoenix to find the evidence that is harder to find. These parts of the game are completely different from the stress inducing courtroom scenes where you are constantly concerned about your client’s outcome. These periods are not timed and the player chooses to roam in different areas concerning the case until they find what they need. During this time, characters talk amongst each other, creating more in depth character development and maybe even more evidence for Phoenix to use in the case or future cases to come.

One thing that Capcom does right in creating the game is that the player is not completely connected to Phoenix Wright. When the case gets difficult or there are points where the player thinks “How am I supposed to figure this out? I’m not a lawyer,” we are reminded that Phoenix is a lawyer, and a smart one at that. Although the players take control of Phoenix’s actions, his thoughts are fully his and he can connect the dots that the players may not see, promoting the game to progress.

All and all, this game series is more than the typical “beat the bad guy and win.” The progression of characters and the build up of the story with all of the cases gives the game a unique sense of inclusivity, pulling the player into a world where they belong and can succeed alongside Phoenix Wright.

-Helen L.

What Counts as Gaming?: The Importance of Casual Games

I have prefaced almost all of my comments within the discourse of my Game Studies class with these words, over and over again:

“I am totally new to the gaming community, but…” 

But is that true? There are so many forms of digital games that I had never considered when asked about my gaming background, because they do not align with my conceptualization of “gaming”(surely, playing Candy Crush does not make one a “gamer,” does it?). However, after some reflection, I realized I actually have quite a lot of experience playing video games. I do not mean to toot my own horn, but there was one point in time (third grade, to be exact) where I was the only one in my class who knew how to beat the final castle in New Super Mario Bros. for Nintendo DS, and classmates would pass me their DSs’ during lunchtime to watch as I carefully maneuvered through their final level for them. Like millions of families across the U.S., my family purchased a Nintendo Wii in the late 2000s. Even today, I find myself glued to my phone for hours playing mobile games (I am embarrassed, yet proud, of my 11593 score in Snake vs. Block).

 I am not stating all of this to assert my place within the gaming community, or to convince you that playing these games “counts” as “gaming.” Rather, I want to emphasise that, despite all of this prior experience playing video games, my preface statement is true; I am totally new to the “gaming community.” Why are casual games so far removed from the concept of “gaming” that I completely discounted them when asked if I had gaming experience? Does that make casual games any less valuable?

In a segment from his television show, Adam Ruins Everything, titled “Why People Think Video Games Are Just for Boys,” Adam Conover explains how the demographic of major consoles became so disproportionately male, despite a greater female interest in video games. At 2:50, Conover states, “More adult women play video games than teenage boys do,” (citing Entertainment Software Association, April 2015). His co-star responds, “That’s just counting stupid phone games,” to which Conover asserts, “So? Games are games,” (truTV, 2015). In this moment, Conover and the Entertainment Software Association validate the legitimacy of casual gamers as “gamers.”

Obviously, there is a marked difference between the experiences and community (or lack thereof) of people who play “casual” games, and the experiences of “gamers.” It seems as though entry into the generally-perceived “gaming community” requires a more intricate console, such as a PlayStation or Xbox, or a computer set-up centered around the activity. In order to be seen as a “gamer,” one must also play a game with a competitive community behind it, where members discuss the game and organize events for it.

While these standards have caused rapid innovation in video game development, they have also made the price of admission to the gaming community steep, excluding millions of people who do not have the means to purchase these systems, nor time to devote to competitive play. These standards have also consolidated the creative pool in video game development to a few large corporations. Antithetical to this, there exists one genre of “casual” games that I have not yet mentioned, a genre that solidified the importance of casual games through its mass exposure to all audiences, and through its creative liberty: Flash games. 

YouTuber Jake Christensen, known as “NakeyJakey,” discusses his adoration for Flash games in this informative video (warning: language is NSFW). 

Flash games, which have almost become obsolete, are games played within a web browser, usually requiring Adobe Flash to run. Their accessibility made them incredibly widespread and popular; if you had internet access in the 2000s, chances are you frequented Flash game websites like AddictingGames.com or CoolMathGames.com. It was easy to share games with friends via email and links. Almost all websites did not require a log-in, and almost all games were completely free to play. Consoles may not have been marketed to girls, but almost everyone had an internet connection, and thus the gender disparity in gaming was not as large in the Flash game audience (I personally remember spending hours on GirlsGoGames.com as a kid).  Due to the limitations of the Flash program, graphics were usually simplistic, and more focus was placed on the game play mechanics. However, unlike mobile games (this genre’s successor), Flash games were not regulated by an app store, they were (usually) not attempting to extract profit, and they were not dominated by large company developers. Despite the graphic limitations, this free program granted millions of independent developers the tools and the freedom to create all kinds of niche games. Some Flash games went on to become successful console games, such as Alien Hominid (2004) and Super Meat Boy (2010). The Flash game medium exposed millions of people to video games, and it allowed millions of people to try their hand in creating video games. This casual game medium advanced video games as a whole, as it inspired creativity, it forced enticing game play, and it granted access to the largest audience possible. 

I have come to the conclusion that the statement, “Games are games,” is not quite true. There is definitely a difference between my mom playing Candy Crush and my mental image of a “gamer”– a difference between the experiences of competitive and casual players. However, casual gaming has been just as valuable to the history and development of the video game industry. Casual games have allowed all groups of people to access the century’s greatest new art form. 

— Ashley

• Christensen, J. [NakeyJakey]. (2018, September 10). Flash games mattered. Retrieved from https://www.youtube.com/watch?v=uhvey_FjtXA.
• truTV. (2015, November 30). Why people think video games are just for boys. Retrieved from https://www.youtube.com/watch?v=i08CVkBxvBM.

The Legend of Zelda and the Silent Protagonist

Nintendo has a history with silent protagonist: Mario rarely, if ever, speaks in his games, Samus in the original Metroid games, and all the avatar characters in Fire Emblem. However, probably the most famous example of Nintendo’s love of silent protagonist is Link, the main playable character in the Legend of Zelda series.

Link as seen from Ocarina of Time promotional art

When video games were first coming into vogue, it made sense to have a main character of few words. The sound cards were only capable of making chips and chirps, and its not like the stories were so involved as to require an in-game exposition. But, as it stands now, it is increasingly more strange how Nintendo refuses to upgrade Link from a silent protagonist. The ways they have gotten around giving Link speaking roles in some of the more recent Zelda games are honestly kind of hilarious in how far they reach. In 2014’s Hyrule Warriors, all of Link’s spoken dialogue and in-battle quotes are done through a fairy named Proxi, and in 2017’s Breath of the Wild, Link is the only major character not to have voice acted lines in cutscenes.

The introduction of Proxi in Hyrule Warriors

This refusal to give Link a voice, and by extension a personality, is extremely frustrating to Legend of Zelda fans as the games gradually become more about the story and relatonships between characters. With the new Hyrule Warriors games and Breath of the Wild prequel coming out on November 20, I am curious to see how Nintendo will once again skirt around Link’s silence, especially scenes between just him and one other character.

Promotional image for the upcoming game Hyrule Warriors: Age of Calamity

Pokémania: 1998-2016… and beyond?

With the release of Pokémon Red and Blue in the United States in 1998, “Pokémania” swept the nation. The video games, the anime, the board games, the Pokémon stuffed toys and action figures, the licensed Pokémon cups and bowls and macaroni and cheese – the craze lasted into the early 2000s as Pokémon movies saw release in theaters. As with any sudden pop culture craze, many parents were suspicious of the influence these popular monsters might have on their children. As Times reporters Howard Chua-Eoan and Tim Larimer wrote in 1999, “the key principle of the Pokeocracy is acquisitiveness… And never underestimate a child’s ability to master the Pokearcana required to accumulate such power: the ease with which they slip into cunning and thuggery can stun a mergers-and-acquisition lawyer.” Others expressed fears that Pokémon were demonic, especially psychic-types like Kadabra. And who can forget the debate over whether the Pokémon Jynx represented racist blackface?

Chua-Eoan and Larimer’s article focuses on other concerns of the parents of the 90s. Though the writers expressed discomfort at the way child players have adapted to the technology – “seven-year-olds navigate unerringly through the miniscule screen that is the porthole to Pokedom, punching two tiny buttons and a cross-shaped cursor bar to find their way. It’s a much difficult task for adults” – their prime criticisms focused on the obsession that the game engenders in its players. Creator Satoshi Tajiri is described as having “obsessions, more dysfunctional than Disneyesque.” His early passion for arcade games made his parents worry that he’d become a “delinquent,” and he and his likeminded friends are called “junkies” as they start to build what would eventually become a multimillion dollar franchise. This wording reflects the concerns that many parents had: that Pokémon would convert their child into an obsessive, video-game-playing shadow of who they once were. But don’t worry, Chua-Eoan and Larimer wrote – “parents who have had to suffer through the games, the TV series and shopping trips can take some comfort in the fact that the Pokemon demographic is the same one that has abandoned Teenage Mutant Ninja Turtles and Power Rangers.” Pokémon never disappeared from the pop culture and video game scene – a gigantic version of franchise mascot Pikachu graces the Macy’s Thanksgiving Day Parade to this day – but it did, at least, leave the limelight.

Pikachu continues to loom over Americans. Source: the Macy’s Day Parade Wiki. 

Until July of 2016, when Pokémon Go was released. Pokémania was back.

Taking control of a gym. Screenshot of Pokémon Go gameplay from Niantic.

Created by Niantic, the smartphone game utilized augmented reality to place pokémon in the world around gamers and to turn local landmarks into Pokéstops where you can get items. You walk down to the corner store, spin an icon marking at as a Pokéstop, and get items: cool! You swipe to catch an Eevee: neat! You power up your monsters and battle hundreds of other players in your area to claim victory for your team and establish dominance for your team: rad! The simplified mechanics of the game, streamlined for mobile playing, irritated some longtime Pokémon fans used to the more complex battling system of the GameBoy and DS games, but generally it seemed like a cute, inoffensive game that encouraged people to go outside. What was the harm?

But just like the original Pokémania, the game set off another storm of controversy. This time, unlike the original Pokémania, critique focused largely on the actual g ameplay mechanics: the smartphone game was allegedly making players (a large portion of which being adults who had played the original Pokémon) inattentive to the world around them, it was a foolish waste of time, it encouraged players to trespass and drive recklessly, and – just like the original criticisms – it was a point of obsession. Click here to view a cartoon  by Polish artist Pawel Kuczynski that expresses many of the critiques of the game. I’m sure we’ve all seen the many Facebook posts from older relatives or people uninterested in video games elaborating on their disdain for the whole phenomenon.

And while a large amount of the Pokémon Go hype has faded by now, the game continues strong, with active players across the world and large content and gameplay updates planned for the future. Further, with the next generation of the handheld console games – Pokemon Sun and Moon – planned for a November 2016 release, Pokemon may stay in the news in the near future. What is it about the Pokémon franchise that stirs such strong emotions in supporters and critics alike – its popularity, the perceived childishness of the game? Or is its criticism not at all unique – what larger cultural contexts drive these criticisms? Setting aside the very real issues of safety (such as playing Pokémon Go while driving), are the criticisms of the game the same hostility that video games as a medium face, or is the augmented reality aspect of the game a special marker that sets its cultural response apart from other games?