Many video games labeled as ‘walking simulators’ put players in a position to pry into the lives of others. This prying or snooping is usually in service to the overarching narrative and may involve piecing together a character’s past or determining when and why a character went missing. Walking simulators often present unique and personal stories that lead to a level of closeness with their characters.

If you put “walking simulator” into a search engine, you might see games like Firewatch, What Remains of Edith Finch, Gone Home, and Everybody’s Gone to the Rapture pop up in the results. These games have some similar features–walking is the primary mode of navigation through each game’s world, exploration is a key component of gameplay, and players can interact with various objects, including audio fragments and/or written documents that reveal narrative elements. These games tell stories. They don’t typically include boss fights, or leveling up, but they engage in unique and artistic stories not necessarily found in AAA games. In addition to their stories, walking simulators are often known for the sense of atmosphere they create through their environments, music, and characters. Walking simulators come in a variety of forms, but one thing many of them have in common is the way they encourage looking deeply and intimately into their characters’ lives.

Gone Home: A Family’s Secrets

Gone Home presents one of the strongest examples of this. On the game’s official website, Gone Home is billed as “a story exploration video game” and as “an interactive exploration simulator” (gonehome.com). The year is 1995, and a twenty-one-year-old woman (Katie) has returned to her family home in rural Oregon. She finds the house empty with no immediate sign of where her parents (Terry and Janice) and sister (Samantha) may have gone. Katie moves through her family home seeking answers. She discovers that Samantha (Sam) struggled at school but eventually made friends with another girl (Lonnie). The two bonded over music and video games. After attending a concert together, Sam and Lonnie became girlfriends. Through Sam’s messages, Katie learns that their parents struggled with accepting Sam’s sexuality and new relationship. Additionally, there are other secrets to uncover in the house.

Gone Home story is touching and heartfelt. Not only did it present a queer story in an honest way, but it also contributed to discourse of games as art, nudging the medium in a critical direction. There’s so much more to say about this, but I’m going to center my discussion on that question I asked you to hold onto: Do walking simulators satisfy people’s desire to snoop?

I believe one of the many reasons walking simulators find an audience is because they tend to let players safely peek into other people’s lives. We’re not only introduced to different worlds and characters, but we get to go through other people’s stuff with little to no consequence. In fact, players are often encouraged to rummage through belongings and snoop into little mysteries in video games. Open cabinets and drawers. Read through a diary. Listen to audio files left behind by the deceased or missing. These are common tasks in video games but especially in walking simulators. This encouragement to snoop and pry is similar to the appeal presented by many books. This connection was noted in a 2013 review of Gone Home from Adventure Gamers: “Many people read books for the opportunity to see life through someone else’s eyes, but it’s rare for a game to do it as well as this one does.” I agree that Gone Home recreates the opportunity to experience another’s life exceptionally well. Around every corner, in every room, Terry, Janice, and Sam can be felt and imagined. In the absence of characters to directly interact with, the house tells an intimate story. This environmental storytelling lends itself well to those of us that would like to peek into a closet or rummage through a stack of paper left on a desk but would feel too guilty actually doing so in real life.

Firewatch: Old Mysteries, New Curiosities

Firewatch is similar in its attention to detail, the relaying of character lives, and environmental storytelling. The game is described as “a mystery set in the Wyoming wilderness, where your only emotional lifeline is the person on the other end of a handheld radio” (firewatchgame.com). Henry, a new fire lookout, travels to the Shoshone National Forest in 1989 to process grief and re-discover himself. In Firewatch, character and narrative detail is not realized through exploration of a closed off and singular location (like the house in Gone Home) but is instead found in the natural environment Henry is free to explore. Henry is processing the loss of his wife and has left his home for the seeming isolation of a fire lookout tower. However, Henry does not find total isolation. His supervisor, Delilah, frequently talks to him via walkie-talkie, asking him to investigate various incidents. Ultimately, the two unearth a mystery relating to events happening years prior. Players will select dialogue options, pick up gear, and explore the wilderness. The narrative makes itself known from documents and other items found throughout the forest, through exchanges between Henry and Delilah, and by way of other encounters. Due to the remoteness of the game’s environment, the conversations between these two characters develop into something deeply personal. Delilah is a bit of a mystery but so is Henry. Players must unravel their stories over the course of one summer.

One key distinction between Firewatch and Gone Home is that in Gone Home, the ‘story’ has already occurred, and Katie unravels the sequence of events. In Firewatch, there is an old mystery to solve, but much of the game’s narrative beats happen to the protagonist. Yet both games offer a space where curiosity and the urge to snoop are encouraged and rewarded. These games allow players to explore both the mundane and mysterious. They give us a controlled and safe way to dip into the intricate details of other people’s lives.

Mystery and Curiosity in Walking Simulators

Most of the time when I hear people talk about snooping it’s within the context of a jealous partner or ex. Snooping may be the result of a lack of respect or self-discipline. But that doesn’t account for the more general curiosity of wanting to know how another person lives their life and what secrets, regardless of how minor, they may keep. I’ve never actually snooped through someone else’s belongings or home–I’d have too much guilt and anxiety from doing so. But I do enjoy exploring the mysteries presented in video games, especially if that mystery asks that I take a close look at other people. A sense of mystery is key to these kinds of games, I think.

In both Gone Home and Firewatch, guilt over prying into other people’s lives is assuaged by making the player feel like a detective with a pressing mystery to solve. Would I get as much pleasure out of a game that just let me walk through people’s homes prying into their cabinets and closets with no other overarching narrative? Probably not. The scaffolding of a larger narrative, of a greater mystery, is necessary to dissuade any guilt and to provide a purpose for prying into someone else’s business. And it helps that both games are designed in ways to that prompt players to ask questions. Why is the house deserted? What is Delilah hiding?

A game’s setting is also an essential element in fostering curiosity. An article from Intermittent Mechanism states that “the home and what it represents in terms of familiar memories and family matters adds to the narrative.” Not only do these elements add to the narrative but they actively prompt the player to dig, pry, and peek into the lives of Terry, Janice, and Sam. The potential for ‘skeletons in the closet’ sparks the player’s curiosity. Similarly, Firewatch‘s mysteries and Delilah’s sometimes cryptic conversations encourages the player to explore further into the wilderness in an attempt to find answers.

Interacting with journals, letters, and audio files scratches the itch of curiosity. So too does opening drawers and peeking into someone’s study. Investigating a person’s life in such a close manner may feel forbidden but that’s also why it satisfies. What do you think? Do walking simulators satisfy your sense of curiosity in similar ways? Let me know in the comments below.

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Metro: Exodus, released on Feb. 15th of 2019, is a first-person shooter (fps) game, developed by 4A and published by Deep Silver. Metro: Exodus is part of the Metro series which is based on a series of novels. The games are relatively popular, though not garnering as much attention as other fps franchises. Games in the franchise have released on both console and PC.

Originally, the PC version of Metro: Exodus was available for preorder on Steam. Steam is a digital distribution platform specializing in video games. Users create Steam accounts to purchase video games, but the platform also offers matchmaking services (so users can play together with ease) and social media services such as messaging and the ability to add ‘friends.’ Steam is the largest digital distribution platform but does have some competitors such as Uplay and Origin. At the time, one of the newer digital distribution platforms was the Epic Games Store. Epic Games is known most for developing the Unreal Engine and for the wildly popular game Fortnite. The Epic Games Store is what brings me to writing about Metro: Exodus.

While Metro: Exodus could be purchased for consoles, it was pulled from Steam and made available for PC exclusively on the Epic Games Store. This move, though smart for Epic Games as such a title was anticipated to bring revenue and attention to their new digital distribution platform, caused an outcry among gamers. I believe the outcry was a result of at least a few things:

• Some people like using Steam and prefer having all their PC games available in one space, in one catalog. This makes sense from an ease of access standpoint. Having to use multiple digital distribution platforms can seem unnecessary.
• People didn’t want to support a new digital distribution platform that was in direct competition with Steam (a favorite platform for many).
• People felt that removing the game from Steam constituted a broken promise. Previous Metro titles released on Steam. Originally, the game’s publisher had every intention, seemingly, of releasing Metro: Exodus on Steam, and it was available on the platform for a time. Pulling the game from Steam read like a false advertisement to some and shook fan faith in 4A and Deep Silver.

Regardless of the reasons, people were notably upset about the PC version of Metro: Exodus only being available for purchase on the Epic Games Store, and they expressed their discontent through acts of editing. Disgruntled gamers turned to Steam, accessing the pages for previous games in the Metro franchise and review bombing them. Review bombing generally involves flooding a game or other product with negative reviews in an attempt to hurt sales, change consumer perspective, and/or to ‘teach’ video game companies a lesson.

The following images demonstrate the extent of the review bombing by showing data on the most recent reviews at the time. A clear trend is seen here where, starting at the very end of January and into early February, the bad reviews started right after the announcement that Metro: Exodus would be an Epic Games Store exclusive for a year.

Metro 2033 Review Stats – 2/11/19

Metro: Last Light Redux Review Stats – 2/11/19

The negative reviews emphasized Metro: Exodus’ removal from Steam and transfer to the Epic Games Store, with reviewers bashing the decision and placing blame on both Epic Games Store and 4A.

Example of Negative Reviews

But then something interesting happened. Fans of the game who thought the reactions and review bombing were ridiculous set about altering the review narrative yet again. They flooded game pages with positive reviews. Many of them acknowledged that the shift to Epic’s platform was unfortunate, but they defended the Metro franchise while placing blame on the publisher. Some of these positive reviews begged potential buyers to give the games a chance and to ignore the negative reviews. A few even helped contextualize the situation, letting potential buyers know what was happening with the review bombing.

Positive Review

Positive reviewers also remixed the messages posted by the negative crowd. The first image below is an example of one of the messages repeatedly posted by the initial review bombers. The image beneath it demonstrates attempts to take over the negative rhetoric from the original review bombers, redirecting the message away from the Epic Games Store and toward the developer or publisher while acknowledging that the Metro games still had value.

Positive posters also took over and played with the language used by the review bombers, as evidenced below with the use of the word “epic” to describe the game under review. They turned what was a negative word associated with Epic Games Store into a positive by describing the game as epic. These players who loved the franchise chose to actively reclaim it.

Example of Reshaping Language

Review bombing is an intriguing rhetorical act and one that falls under the general umbrella of editing. It is perhaps an unexpected form of editing that often involves many voices working in unison without any clear leadership. Despite the lack of direct leadership, review bombing is a powerful editing force that can shape the narrative of a product or service. And this same tactic can be used to reclaim that narrative when reviewers band together to fight negativity.

Have you encountered any interesting incidents of review bombing? Please share in the comments below!

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My grandmother was a gamer. It felt a little strange writing that sentence, but it’s true. My grandmother played games on a bulky old Dell that sat on a crowded little desk. In that same room at my grandparent’s house sat a piano against one wall and a line of boxes on the other. It was a tight space that managed to offer hours of entertainment when my siblings and I visited. To be clear, we didn’t only play video games when we visited (there was pool to play in the basement and Disney cartoons to watch). But that dusty desktop was an enticing part of our visits.

I imagine my grandmother had that Dell desktop so she could do some work from home, but there was a collection of 80s arcade games installed along with games like Cabela’s Big Game Hunter and Zuma. I can also imagine that it was one of my uncles who bought those games and installed them on the computer. Regardless of how they got there, those games were apart of my first PC gaming experiences. I’m not talking Minesweeper or Myst. These games were part of a collection that included Vortex, Tempest, and other classic arcade games (at least, that’s how I remember it). I thought these games might have been part of an Atari collection of games, like the one pictured below, but I’ve been having trouble identifying the exact CD-ROM. My uncle had most of the high scores, but that just motivated my siblings and I. Tempest stands out in my memory the most because it seemed so visually different from the other arcade games I had played. It wasn’t like Centipede, Pac-Man, or Frogger. The jumpy animation, colorful lanes, and varied levels intrigued me.

One of the funny things I recall is that we didn’t really talk to my grandparents about these games. My siblings and I would take turns at the computer, huddled around with anticipation. Obviously, they knew we were playing (after all, we had to ask politely), but they left us to our own devices. Sometimes my uncle would watch as we tried getting a high score in Tempest. That was one of his favorite games. On a few occasions my grandpa would see what we were up to when we played one of the hunting games. My grandpa played those games, and when we were visiting, he would sometimes check in on us to see if we’d shot a big buck. Those memories are fuzzy to me now, but I remember appreciating his attention. It was a small point of connection but a connection all the same.

My grandmother played computer games more than my grandfather. But I don’t recall seeing her play that collection of arcade games. She liked playing Zuma and card games like Solitaire. She seemed most interested in Zuma though, and because of that, I’ll never be able to separate that game from memories of her. A mental connection like that is a pleasant thing to carry (she passed in 2010). While those moments gaming at my grandparents’ house were brief (my mom didn’t want us playing for too long), they were an important part of feeding my interest in technology and gaming.

In 2017, I wrote about some of the women who game in my family. At the time I focused on my mom and my sister, but I’ve been meaning to write about gaming and my grandmother for some time now. This post is self-serving, to be sure. But the reflection felt worth sharing. I’d love to see more stories about gaming that involve childhood and the women who played a part in those stories. If I could track down that collection of arcade games, I’d love to hold a copy of it again. To relive those days for another moment. To picture myself sitting at that Dell in my grandmother’s house on a warm summer day.

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I haven’t had the opportunity to just exist out in nature by myself in quite some time. It seems ironic and totally against the sublimity of the natural world, but sometimes walking through the woods in a video game can just about hit the spot.

theHunter: Call of the Wild is one of those games I like existing in. Call of the Wild is a hunting simulation game from Avalanche Studios and Expansive Worlds and is one of the most realistic hunting sims I’ve tried. You can hunt a wide variety of animals like Roosevelt elk, bears, and turkeys across the game’s twelve reserves. Reserves focus on areas like the Yukon, Southern Africa, and Finland in stunning detail. This is a seriously gorgeous game. There’s a reason why I can spend hours just walking and observing. The natural environments are presented in such a real and detailed way.

Besides the views, Call of the Wild is a thoughtfully designed hunting game. It leans heavily into the sim elements–hunting takes patience, time, and a planned approach. Some have complained that the game is boring. My guess is that they’d do better with an arcade hunting experience. To hunt with any success, players will need to be mindful of how much noise they make, which way the wind is blowing, and lining up an ethical shot. There are weapons, perks, and skills to unlock, a hunting lodge to fill with trophies, and even a good ol’ hound dog (available via DLC) to help you find downed prey. It’s a slow experience, one that lends itself to reflection and winding down after a long day. Call of the Wild simulates many of the facets of actual hunting which is why I enjoy moving through the maps with no intention of firing off a shot so much of the time. Sure, I’ve taken my share of elk and deer, but that’s usually secondary to the meditation of walking down a narrow path through the woods at dawn.

theHunter: Call of the Wild reminds me of childhood, of growing up miles outside of a small town, and of my soul-searching in the woods after finishing my schoolwork and chores for the day. For some, the game will require too much patience and/or be too quiet and slow. And that’s okay. But if you’re like me, the serenity of the woods will welcome you in. So take that hike. Enjoy the sunset. Nature awaits you.

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When I was a teenager, I played a ton of Rollercoaster Tycoon. I was a theme park manager in charge of a slew of parks. It was my responsibility to keep the books in the green lest the stakeholders got antsy. This required planning for the future, considering the park’s design, and managing the experiences of my guests. There were a few times when my performance was in question (park visitors can be fickle), but all-in-all I was the best theme park manager the company had seen in a long time.

Wait…What did you say? What am I talking about?! You don’t play video games like that. Well, that makes me kinda sad. But I know I can’t be alone, right?

To this day, when playing video games (especially sims), I go all in with narrative. Whether its Planet Zoo or Powerwash Sim, I’ll have a narrative whipped up in my head. When playing Planet Zoo, I was a major contributor to conservation efforts. Working in Lawnmowing Sim meant more than simply mowing lawns–it meant saving the family business. I could leave a game for months at a time and then come back and pick up that same narrative again.

This practice of situating myself into the games I play is the same imaginative wonderings that followed my reading as a kid. I absorbed everything from Animal Ark and Encyclopedia Brown to Choose Your Own Adventure and Nancy Drew. I was also fascinated by my dad’s astronomy books, but that’s a topic for a sci-fi-related post someday. Reading was enthusiastically encouraged in my house. Between regular visits to the community library to the modeling of my parents’ own reading habits, I took to reading eagerly. Books offered possibility. Through their pages I could imagine myself living various lives and going on so many adventures. Those fictional adventures led to my own stories and my eventual love for video game narratives.

According to an article in Scientific America, “We use our imagination in many ways. Novelists rely on it to dream up plots, characters and scenes. Artists use it to conjure new works. Children entertain themselves by weaving fantastical worlds in their minds” (“Why We Imagine“). In what ways do gamers use their imaginations? Arguably, most video games prompt and require that players imagine. Imagine worlds they can ‘live’ in. Characters they can interact with. Problems to solve. Levels to navigate. When I think of a game like Elden Ring, this becomes more clear. On many occasions I ran into enemies that initially wiped the floor with my body. But I would come back, try again, and improvise. Creativity saved the day on a number of occasions. Similarly, when playing Far Cry 6, I would vary my approach when infiltrating outposts. Sometimes I would go in guns blazing. Other times I would use stealth or a kind of mixed approach blending explosions and loose animals. Video games stimulate the imagination in many ways, including by their design and the choices they present. In fact, the imagining and creativity prompted by video games may carry over into other areas of our lives. A study from Michigan State University found that “the more kids played video games, the more creative they were in tasks such as drawing pictures and writing stories” (“Video game playing tied to creativity“).

When I imagined myself as an Emeril miner in No Mans Sky or as the director of a reality tv show in The Sims 4, I was practicing creativity and pushing against and into the design of those games. That’s not to say that the games I’ve mentioned in this post don’t have narratives. Some of them very much do in the form of campaigns, scenarios, and other narrative-infused elements. I believe there is as much value in video games without definite narratives as those with plotted out stories.

Video games have provided me with many opportunities to play, explore, and create. They’ve often served as a kind of studio or playground for my imagination. There’s a comfort in that. But that’s my experience. What about you? Do you find yourself creating narratives as you play?

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Would it really be spooky season if I didn’t die a dozen (or more…it’s definitely more) times at the hands of vengeful spirits? I think not. In 2020, I wrote about playing Phasmophobia for the first time and the joy of playing a PC game with friends. This September marks the third spooky season my friends and I have obsessively played the popular ghost hunting game.

When I first started playing this game, I wasn’t sure how long it would hold my attention. Wouldn’t the gameplay get old? Phasmophobia is strengthened by eerie environments, ambient sounds, co-op mayhem, and frequent updates.

“Screenshot: Phasmophobia”

Phasmophobia is a joy…and a scare. It’s been an interesting experience for me. I LOVE horror movies and books but generally shy away from playing horror games because I find it difficult to play when I’m scared out of my skin. There’s something about being in control and having to make all the decisions in horror games that leaves me feeling incapable of playing. I freeze. I panic. It gets ugly…

But Phasmophobia. Phasmophobia offers a thrilling yet terrifying experience. The game’s horror comes from its environments, the uncertain timing of ghost events, and the panic that sets in when the doors close and you’re stuck inside with a vengeful ghost on the hunt for more victims.

The hilarity of co-oping the game with friends helps to undercut the terror, and you can certainly fall into a rhythm–a pattern of efficient behavior and steps to identifying the ghost. One player grabs the spirit box, chatting through every room. Another player walks around with a video camera looking for orbs (ghorbs, as we say). Someone else might walk around looking for a haunted object or bone evidence. But despite the well-oiled machine our group can operate as, we also frequently descend into chaos. At times, that chaos is a result of some curveball the game throws; other times, it’s a result of the group’s foolishness. We make silly decisions like bolting back inside the house “one more time” when our sanity is well below a safe threshold.

“What did we think would happen?”

One such time I was playing with my good friend Joey. It was just the two of us playing, and we had warmed up with some of the smaller maps before heading to the prison. Our typical approach with the prison is to work our way systematically through, starting at the front of the building and then splitting to cover A Block and B Block. We were about done with the lobby when I noticed something red beneath my feet. A circle of death. Except, I didn’t know death was a possibility just yet.

I stopped and called Joey. “Holy shit! Come back and see what you just stepped over.” He walked back to the lobby and saw the pentagram on the floor. Excitement rose in our voices.

“What do you think it does?” I asked.

We knew cursed items were a recent addition to the game, but neither one of us had seen this before. We noted the candles and immediately knew what had to be done. Rushing back to the truck, I grabbed a lighter and we ran back to the pentagram. I started lighting candles, pausing at the final one.

“You ready?”

Joey nodded.

I lit the last candle. A ghost, a demented-looking man with a scythe in hand, appeared in the circle. For a moment, the ghost was suspended in the pentagram. Joey moved away from the pentagram almost immediately (wise fellow). The ghost then broke free and started toward me. Out of some strange Phasmo-induced instinct, I cycled to my camera, determined to get at least one good picture of the ghost. As I backed up, camera flashing, the ghost grabbed me (cue “Angel” by Sarah McLachlan). The next moment, I was floating above myself, above my twisted husk of a body.

I was dead and my loyal teammate fled to the safety of the truck. I looked down at my corpse and noted the look on my face. Despite the violent death that body was subjected to, the look was one of peace.

Once Joey was safe in the truck, we both erupted into laughter. “What did we think would happen?” I screamed. The fright of my unfortunate yet predictable death was now behind me.

And that’s Phasmophobia for ya. Horror and humor mesh into the experience on the regular. I wouldn’t enjoy ghost hunting as much solo. So much is added to the game when playing with others. This fall I’m shy of 300 hours played, and now I can’t imagine a fall of gaming without some Phasmophobia with friends.

Image Source: https://www.news18.com/news/buzz/did-spider-man-no-way-home-recreate-the-spideys-pointing-at-each-other-meme-4581383.html

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No Man’s Sky released in 2016, which feels forever ago, and it faced some…hurdles. But I’m here to talk about the state of the game today and my most recent experience with it.

On a whim, I decided to download No Man’s Sky and log in. Initially, I was frustrated because my original save wasn’t available on the PS5 (it’s complicated, but something happened to my PS4 save at some point a year or so ago). Knowing that I’d have to start over, I reset my perspective. Maybe this would be a good thing? After all, the game had had a number of updates since launch.

I’m glad I was forced to start anew.

So much has been added to the game. New material and elements, new systems, combat, contracts, etc. I was overwhelmed and lost until I settled in and started following the tutorial quests. I was a person on a mission. A mission to find an ideal planet, build a base, and max out my storage. And I did!

I found what I refer to as a bubble planet. It’s lush, peaceful, and bubbly! What’s there not to love? I created a makeshift base as I figured everything out and eventually upgraded to a base more thought out (I needed more room to grow space weed, okay?).

My friend joined me too. He set up a base on another planet and we traded material and just chilled while playing together. That social opportunity was something I’ve wanted from the game since launch. I get it, space should be a lonely place overall, but why not share some moments with friends? While meeting up with my friend was sometimes a buggy process, it was nice seeing him in game and knowing he existed systems away but within reach.

When I wrote about No Man’s Sky in 2017, I mentioned creating my own narrative while playing. I tend to do that with games that are more open and sim-like. I found myself doing that again as I explored beyond the bubble planet and sought out supplies and black holes. The exploration aspect of the game is still strong. The procedural part of the game still has its limitations (as expected), but there is variety in planet types and interesting creatures and formations to see. One of my favorite things is jumping to a new system and seeing what colors of light await me. No Man’s Sky still manages to fill me with a sense of awe and discovery. I felt that way about the game at launch and view it similarly now.

What works is exactly what will turn other players off though. If you need a deep narrative to drive you, you won’t find it here. If you’re not willing to set your own objectives, you’re likely to flounder. But if you appreciate the openness that comes with setting your own path and enjoy seeing and naming planets no one else may ever see, than No Man’s Sky may appeal to you.

Apart from the game’s own appeal, I’ve enjoyed watching Hello Games’ journey in all this. They keep putting out content for free and they seem to have learned some valuable lessons since launch. More game studios might learn from Hello Games’ commitment.

At the time of writing, I haven’t had time to check out the ENDURANCE update, but it sounds exciting as it “brings a complete overhaul of freighters and fleets, allowing players to live and work aboard their home in the stars, together with their own crew.” The future of No Man’s Sky seems bright, and I’m invested in following along. No Man’s Sky is one of those games I plan to revisit periodically, and each time I do, I’m rewarded with new content and discoveries.

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Recently I listened to Far Cry 5‘s music and remembered something distant yet close. I ended up reaching for a dusty book on the bottom shelf near my desk. It was an old hymnal with a cover of green faux-leather. The word “gather” reached across the cover in faded golden font, its weight reminding me of the difficulty I had as a child holding the book up to sing “City of God,” “Taste and See,” or “You Satisfy the Hungry Heart.” I would usually resort to leaning the hymnal against the back of the pew in front of me.

Flipping through the first few pages, the words “Morning Praise” jumped out at me, followed by a brief song:

Holy God! Fill us this day with new breath! And we shall be living words of praise!

(Gather Comprehensive, 1994, pg. 1)

I can guess what you may be thinking. But…isn’t this a video game blog? Absolutely. And I would like to try something a but different with this post. I’m hoping what follows will translate well as a reflection/critical reading kind of post. So let’s dig in to it.

Step into the garden
We're gonna lock the gate
We gotta keep out the sinners
We gotta keep out the hate

Look at the horizon
The time is coming near
Look out at the world on fire
Look at the people frozen in fear

Portion of "The World Is Gonna End Tonight" by Dan Romer

Far Cry 5: When the World Falls

When the World Falls consists of eight songs performed by a choir. These songs serve as anthem for Eden’s Gate while marking beliefs, who belongs, and consequences for sinners. Some of the songs identify Joseph, John, Jacob, and Faith, planting them firmly in the world of Far Cry 5, while other songs sound like they could be lifted and sung in a church.

The album opens with “Build a Castle,” which lays out Eden’s Gate’s offerings–protection from the coming storm. This is also the first song that references “the voice.” Taken in context with other songs (like “Now He’s Our Father”) the voice seems to represent God. Based on this song, Eden’s Gate seems like any other Christian denomination seeking members and offering comfort and safety from sin. The castle they are building is strong, fortified, and signifies their dissonance with the world.

The second song, “Help Me Faith,” provides an example of why such a castle is necessary. “Help Me Faith” shares the perspective of someone who grew up initially oblivious to the shortcomings of the world. The song’s speaker states that “my family swore, they knew best for my life…When it came to the world, I never thought it would end.” Presumably, this experience would be common for Eden’s Gate’s members before joining the cult.

Midway through the song, the speaker expresses dissatisfaction with life stating, “My heart never loved, and my soul couldn’t laugh.” In the bridge (the song’s climax), the speaker expresses regret for continuing to live a life of sin, realizing their error too late. “Help Me Faith” is a warning for those who hesitate to recognize their folly and join Eden’s Gate. There’s an urgency to Eden’s Gate–sin is overwhelming the world and doom for non-believers is soon to follow.

The light that guides sinners to Eden’s Gate is, of course, Joseph Seed. “Now He’s Our Father” provides Joseph’s origin story. He’s described as a hard worker, a man with calloused hands who picked peaches all day long in the sun. Joseph eventually heard “the voice” and became a prophet. This work wasn’t easy, though. He was persecuted by non-believers, sent to prison, and starved “’til his face was cold and thin.” From this hardship, he emerged as the shepherd, captain, keeper, and father of Eden’s Gate. “Now He’s Our Father” is in praise of Joseph and leads naturally into the fourth song, “Keep Your Rifle by Your Side.” Rifles? Yep.

Up to this point, we have several things established. We’ve been introduced to two of the major characters and we have a sense of the conflict between Eden’s Gate and the rest of the world. What we can’t forget is Far Cry 5‘s references to doomsday preppers and the alt-right. Afterall, Ubisoft’s promotional material describes Eden’s Gate as a “fanatical doomsday cult.” They use force to get their way in Hope County, forcing its residents to convert and torturing those who refuse to comply. So while the mention of a rifle in a hymn-like song is unexpected, it works in the context of Eden’s Gate.

This cult doesn’t hide their intentions considering their music blasts throughout Hope County. “Keep Your Riffle by Your Side” firmly casts “sinners” as the enemy actively destroying the world; thus, its Eden’s Gate’s right to protect themselves and their beliefs. God is used to rationalize these actions: “When we hear the voice, we know we have no other choice.” This is the first blatant instance of violence promoted by the cult in the songs and marks a shift in the album. The stakes are amping up.

When the world is torn by war
When the rain of bullets pours
When bombs fall like autumn leaves

There's a garden through the gate
Where the father keeps us safe
You'll find it if you follow me

Portion of "Oh the Bliss" by Dan Romer

The next few songs (“Let the Water Wash Away Your Sins,” “Oh John,” “Oh the Bliss”) reinforce Eden’s Gate’s beliefs. The world is changing (for the worse) and followers will be tested, but those who hold strong and keep the faith will be rewarded. John will march them “right through Eden’s Gate” to the Bliss. The Bliss will set believers free, provide safety, and offer truth. Who doesn’t like the sound of that? Well, apparently the Bliss isn’t for everyone.

“Set Those Sinners Free” is the eighth song on When the World Falls. This song marks another shift in the album. Eden’s Gate no longer trusts that the people of Hope County will accept the father and gain the Bliss on their own merits. Non-believers are characterized as stubborn and clueless. The chorus establishes this: “You can sing all through the night. Preach till the morning light. Some cannot tell wrong from right.” Non-believers must now be taken by force, and that force has a name. Jacob. “Set Those Sinners Free” articulates the cult’s justification for Jacob’s forceful tactics: “Jacob’s gonna come and set those sinners free.” Jacob is in charge of security for the cult because of his background in the armed forces. He lived a rebellious life previously but was brought back into the family by Joseph and John.

Jacob’s tactic for converting non-believers is to capture and torture them into submission. Those that refuse to join Eden’s Gate die. I also take this song as a kind of last call for rounding up those stubborn sinners. The collapse is nearing as is evidenced by the next song. “The World is Gonna End Tonight” culminates everything touted by Eden’s Gate. The time has come for followers to “Step into the garden” because the world will soon be set on fire. People–sinnners–will be left outside to die. Eden’s Gate will turn on them entirely and without sympathy. “We won’t listen to their crying. They had their chance to see the light. We won’t be handing out no pardons.” The time for repentance, forgiveness, and new-found faith has passed.

The album’s final song, “We Will Rise Again,” summarizes all that Eden’s Gate stands for and professes. A “sinister creed” of the west is described. The devil’s lies convince people to live in excess while the poor go without. The “great collapse” will arrive but Eden’s Gate will be left untouched because they were prepared, they saw the evil descending on the world. As their reward, they will watch the sun rise from Eden’s Garden and start the world anew.

In Music, All Things New

The music of Far Cry 5 presents songs of praise, reassurance, and doom. Themes of light, community, sin, and the end times run through songs like “Oh the Bliss,” “Let the Water Wash Away Your Sins,” and “We Will Rise Again.” Into the Flames and When the World Falls carry the sounds of hymns and gospel music with their praise of God and the welcoming of a peaceful future. But their songs include shades of darkness. Eden’s Gate isn’t above using force to gather its members.

As seen through the game, Eden’s Gate separates people from their families, tortures some, and even kills those who refuse to believe in the father. The music perfectly captures Eden’s Gate and represents their beliefs throughout the game. Stalwart in the face of bombs and lies, Eden’s Gate persists in pursuing the Bliss to the very end. Their music plays its part as recruitment tool and propaganda for a cult rapidly approaching the collapse.

Listening to the albums is enthralling in its own right, but I cannot escape the comparisons with my past. I was raised Catholic. I sang songs praising God and his glory every Sunday morning. When I hear the music of Far Cry 5, I’m reminded of those times. Don’t get me wrong. I do not necessarily view Christianity as a cult. However, I do think that sometimes what makes cults so compelling is their similarities to what is acceptable and ‘normal.’ So much of the game’s music sounds authentic and captures the essence of the music I grew up listening to. If you look into a song like “All Things New,” you’ll see a similar sense of the world changing for the better, which is eerily similar to what Eden’s Gate sees in its future.

Sing a new song! Rejoice!
The dawn is breaking, the earth is waking, its dreams come true.
And do you hear the voice, darkness surprising, singing in its rising:
"See, I am making all things new!"

Portion of "All Things New" from Gather Comprehensive, 1994

However, it’s uncanny hearing a chorus of praise that also mentions violence and rifles. I believe this juxtaposition was intentional and that it works incredibly well. I’m sucked into the music whenever I hear it and am reminded of the misplaced directions such beliefs can go.

Even if you passed on Far Cry 5 or played it initially and found it lacking, I do recommend checking out Far Cry 5’s music. Some of the songs, especially on When the World Falls, are absolutely beautiful and haunting. When I first played Far Cry 5, the music immediately captured my interest. Years later, the songs still hold my attention, which speaks to the strong writing and performances. Give them a listen and let me know what you think.

The post “There’s a garden through the gate”: Far Cry 5’s Music appeared first on Wedee.

So before the semester gets underway, I wanted to write up something about the final games of my summer.

Disco Elysium (PC)

Disco Elysium first released in 2019. I played The Final Cut version of the game, which added full voice acting, new political options, and other features. Disco Elysium puts players in the role of a detective. In that role, you’ll explore a city block, interrogate suspects, and discover who you are. That all sounds pretty straightforward, right? Well…Disco Elysium is anything but straightforward.

But here’s the thing. I don’t want to say much about the game because Disco Elysium is something that has to be experienced firsthand for full effect. Tonally, Disco Elysium is a mix–it’s dark and depressing with humorous and touching moments that hit deep. It’s a truly bizarre experience to play. Playing Disco Elysium was like being back in an undergraduate literature class reading an old text that took several readthroughs to understand. But I don’t say that as a deterrent. The nuance and depth were appreciated, and the game is art. The game’s ending is something I will think about for some time. There is this beautiful moment at the end that is only possible within the context of the game’s darker side. Again, I don’t want to say too much for fear of spoilers. But if you can stick through the game’s grittiness and depressing aspects, you might be similarly struck by the ending. It’s the kind of moment in gaming that feels like magic, and because of that magical quality, I’ll only ever be able to experience it in full one time.

Stray (PS5)

Stray (2022) is billed as an adventure game featuring a stray cat who is separated from the world it knows when it falls into a walled city. This city presents many dangers to our dear feline, but also includes some exciting discoveries.

When I first heard about Stray, I knew I would play it. I adore animals and the animations and sounds of the game looked cute. I didn’t expect Stray to have as much depth as it does. Several points in the game surprised me with their emotional weight (I may have shed a tear at one point). The world, occupied by robots, was fun to explore as I completed tasks and gathered various objects to progress through the levels. Stray is divided into twelve chapters and does not take very long to complete (expect roughly six hours depending on how much you poke about).

Animal Crossing: New Horizons (Switch)

I don’t think I’ve written about Animal Crossing: New Horizons in much depth before, but I have been playing it off and on since launch. It’s one of those games that helped me get through the early days of the Covid pandemic and kept me connected with friends. A lot has been said about Animal Crossing by many others. For me, it’s a near-perfect cozy game that leaves enough room for creativity and inventiveness. I can spend hours redecorating my house. I can also spend hours swinging my net at bugs and going fishing. I set my goals and accomplish them as I want. It also feels very much like a summer game. Obviously, the island setting contributes greatly to this, but the available activities and the time spent in nature makes the game feel like an extended camping trip to me.

Arcade Spirits: The New Challengers (Switch)

Arcade Spirits: The New Challengers was a highlight of my summer gaming. I enjoyed the art style, setting, and story. I loved playing in this game world where arcades are exciting places full of character and that are popular with a range of people. I won’t comment on the story here, but if you’re looking for a game with a diverse range of characters and options for romance and/or friendship, this one is worth checking out. It’s also cool that there are a number of customizable elements–your character and the UI are notable here. The New Challengers is a visual novel, which may be a turn off for some. But there is more to do than selecting dialogue options. There is a game within a game, relationships to foster, and choices to make. Replayability is also high with this game.

Sniper Elite 5 (PS5)

I have yet to play all the way through Sniper Elite 5; however, that is not unusual considering my approach to previous Sniper Elite games and games like Hitman. I tend to take my time with these games, playing for a while, leaving for a while, and then coming back. I like that these games are broken into relatively self-contained levels/chapters as that makes for easy starting and stopping points.

I played through the first two major areas of the game and having nothing but good to say about Sniper Elite 5 so far. It does more of the same, which is absolutely fine by me. The levels are well-designed and fun to explore, the gunplay feels good, and the stealth is manageable. I have heard that close combat can feel clunky, but I haven’t had much experience with that yet. All-in-all, I’ve been enjoying this one and look forward to playing more.

Mainline Far Cry Games (PC, PS5, & Xbox Series X)

One of the goals I set for this summer’s gaming was to play through some of the mainline Far Cry games. I wanted to do this just because but also because I’ve wanted to record gameplay for some time now. I successfully played through Far Cry 3 and Far Cry 4 and got about halfway through Far Cry 5 before having to take a break from it. In addition, I reacquainted myself with Far Cry and Far Cry 2. It was fun re-visiting the franchise, taking notes, and recording gameplay for future projects. I’ll have more to say about Far Cry 3, Far Cry 4, and Far Cry 5 in future posts (the first of which will be published in October).

The post Summer Games Wrap-up appeared first on Wedee.

“As the columns of hail grew thinner, I saw the white figure more distinctly. It was very large, for a silver birch-tree touched its shoulder. It was of white marble, in shape something like a winged sphinx, but the wings, instead of being carried vertically at the sides, were spread so that it seemed to hover. The pedestal, it appeared to me, was of bronze, and was thick with verdigris. It chanced that the face was towards me; the sightless eyes seemed to watch me; there was the faint shadow of a smile on the lips. It was greatly weather-worn, and that imparted an unpleasant suggestion of disease. I stood looking at it for a little space—half a minute, perhaps, or half an hour. It seemed to advance and to recede as the hail drove before it denser or thinner. At last I tore my eyes from it for a moment, and saw that the hail curtain had worn threadbare, and that the sky was lightening with the promise of the sun.”

Introduction

The Time Machine, a novella by H. G. Wells, has captured my attention for some time. Although considered a lesser work by some, The Time Machine is interesting for its adventure, its exploration of class, and of course, time travel. It was originally published in 1895 and since then has spawned multiple adaptations–a handful of films, radio programs, and comics. And of course, the novella’s handling of time travel and time machines has inspired numerous other texts.

The basic premise is that a man, known only as the Traveller, journeys to the far future. He is an inventor and scientist and imagines he’ll come into contact with some advanced civilization but is instead met with decay. Civilization has fallen. In place of humans, two species exist–the Eloi who live above ground and the dangerous Morlocks who creep beneath the surface. The Eloi, described as delicate and child-like creatures, represent the rich, and the Morlocks, light-fearing and ape-like, represent the poor working classes. Ultimately, The Time Machine’s message is one of warning–ignore economic inequality and humans risk a disastrous future.

Amidst this dystopia, the Traveller witnesses many things, including that winged sphinx made of white marble. It’s described as being sightless and yet it always had eyes on the Traveller… 

When I was a young adult, I read The Time Machine for the first time. I was an avid reader then, picking up whatever I could get my hands on. When I initially read The Time Machine, I was intrigued by the journey, that a man would fling himself into the year 802,701. Beyond the adventurous aspects, I couldn’t stop thinking about two things. 1) What does it do to a person to have knowledge of the future, and 2) what about that sphinx? The sphinx fascinates me to this day. It’s what’s kept me coming back to the book and what sparked me to research its meaning and mysteries at various points over the years.

The sphinx is a striking figure–one that seems diseased and menacing, but it doesn’t just appear in the book. Wells insisted the sphinx appear on the novella’s cover, and it would have been meaningful to his audience. Afterall, the novella was published in 1895, at the tail end of the Victorian era, and the Victorians were fascinated with Egypt. 

But I’ll get to that. In order to really understand the sphinx, we need to take a step back into myth and antiquity.

History of the Sphinx

The most well-known sphinx is the one above, the Great Sphinx of Giza. Made of limestone, this reclining sphinx has the head of a man and the body of a lion. The Egyptian sphinx is a symbol of a pharaoh’s power, a guardian of the underworld, and a religious symbol found in both myth and architecture and that has influenced depictions of sphinxes in several cultures. Sphinxes can appear as male or female, though typically male, and as a composite of various beasts, with “the most common combination [being] the body of a lion and a human with the face of a reigning king or queen” (Pinch 206). They are depicted both standing and prone. While the Great Sphinx of Giza is the most iconic of the Egyptian sphinxes, other common sphinxes include Aker and Tutu (Pinch 206).

Egyptian sphinxes had several functions including that of guardian and dispatcher of enemies. They serve “as terrifying animated guardians for temples or tombs” (Pinch 206). In one Egyptian myth, “the centre of the Underworld is occupied by an enormous twin-headed sphinx called Aker” (Clark 169). Inside of Aker is a cavern where a snake resides, and this snake helps the sphinx attempt to hold back the god Osiris (Clark 169-171). In other literature, the sphinx is recognized as having a connection with the horizon and sun. In reference to the Night-sea Journey of the Solar Barge, Joseph Campbell says that the sphinx “may represent the solar power inherent in divine kingship” (76).

Other prominent sphinxes originate from the Greeks. Depending on the source, the Greek sphinx’s history and parentage varies slightly. According to Hesiod (9th century BCE), the sphinx was born of Orthos and Chimera (12), while The Library of Greek Mythology (2nd century BCE) claims she was born of Typhon and Echidna (Apollodorus 106). In both cases, the sphinx, sometimes referred to as Phix when referenced in the Oedipus tale, was an enigmatic figure born of monsters and associated with terror and disease. 

Sophocles’ Oedipus Rex (5th century BCE), the first of the Theban plays, makes reference to the sphinx several times. She is referred to as a “[s]orceress” (4) and as an “oracular monster” (17). In this text, the sphinx is mentioned in the ending chorus, demonstrating how essential Phix is to Oedipus’ identity; Oedipus is “[t]he man who solved the riddle marvellous” (55).

Apollodorus describes the sphinx as having the body of a lion, wings, and a woman’s head (106); “She had learned a riddle from the Muses, and seated on Mount Phicion, she posed it to the Thebans” (106). In this depiction, the sphinx is a plague upon the Thebans, not allowing them to pass unless they can answer her riddle: “what is it that has a single voice, and has four feet, and then two feet, and then three feet?” (106). While most Egyptian sphinxes were male, Pinch states that “[f]emale sphinxes sometimes had wings, and it may be this form that influenced the development of the female sphinx of Greek mythology” (206).

Close-mouthed you sat five thousand years and never let out a whisper.

A Sphinx by Carl Sandburg

The sphinx. Guardian. Monster. Riddler. If you’ve noticed a pattern in the sphinx’s behaviors and forms, that’s because there is one. And one way to understand this pattern is by discussing the sphinx as an archetype.

So what’s an archetype? In his book Anatomy of Criticism, Northrop Frye talks about how whenever we read something we interpret signs. For a simple example, the word “dog” is symbolic of a four-legged creature that English speakers have decided will be called “dog.” We make meaning and share associations. When we read, we also learn to look for deeper symbolic meanings of words and images within texts. In an essay titled “Ethical Criticism: Theory of Symbols,” Frye introduces what he calls the “Formal Phase” in which he discusses the recurrence of patterns in literature. He begins by establishing that the form of a poem remains the same whether we look at the poem by itself or compare it to other poems. There are certain aspects of poetry that make a poem a poem and such aspects are expected by the reader. In this same sense, a symbol or archetype can stand alone in a single piece of work and contain meaning in that work while at the same time carry meaning in other pieces of literature. Frye refers to this as “the moving body of imagery in a work of literature” (Frye 83). Essentially what he’s saying is that an image can exist within and outside of any given text. Readers and viewers are used to recognizing these archetypes. Making connections between texts is something we all do naturally and sub-consciously. Frye claims that the symbol, or archetype, in literature is the communicable unit; it is this unit readers will recognize.

Others agree with this definition of “archetype.” The Oxford English Dictionary defines “archetype” as “a pervasive idea, image, or symbol.” Joseph Cambell said that “An archetype is a constant form, a basic fundamental form which appears in the works of that person over there, and this person over here, without connecting them” (Masks of Eternity, 1988). A more detailed definition states that “[t]he literary critic applies the term to an image, a descriptive detail, a plot pattern, or a character type that occurs frequently in literature…” (Harmon 43).

If the sphinx is an archetype, where does the sphinx appear?

Well…practically everywhere.

What led to all this? We can credit Egyptomania and the Victorians for this one.

Cultural Context: Egyptomania

“I do not think Silas a product of nature, but a child of the Sphinx, and I never could understand him”

Uncle Silas by Sheridan Le Fanu

Although its early beginnings are deeply rooted in Greek and Egyptian mythology, the sphinx is readily found throughout Western literature from the late 1700’s to the early 1900’s. John Keats, Charles Dickens, Ralph Waldo Emerson, Margaret Fuller, Andrew Downing, and many others including French, Russian, Scottish, and Irish authors mentioned the sphinx in their work. And although the sphinx is brought up in earlier literary periods, its references seem most abundant in the Romantic, Victorian, and Transcendentalist eras of literature where it mostly maintained its classic functions and appearance.

The recurrence of the sphinx in literature can, in part, be explained historically. In her book Reading the Sphinx, Lynn Parramore discusses the changes England went through by the end of the eighteenth century. England was a wealthy nation due to the Industrial Revolution and they were successfully trading with India as well as North and South America (Parramore 17). The French were recovering from their own revolution and sought a means to conquer and usurp their world power. According to Parramore, “Europeans had gradually become more curious about ancient Egypt in the eighteenth century,” and it was Napoleon Bonaparte’s campaign into Egypt that sparked an obsession known as “Egyptomania” (18). Both the French and the British sought control of Egypt due to its connections to India and the Far East. Although the British and the French valued Egypt for its connections they also desired the treasures and artifacts hidden there. From 1798 to 1801, Napoleon’s savants, the scientists he brought with him, scoured the Egyptian landscape finding the remnants of forgotten temples and uncovering ancient relics.

Napoleon’s campaign created a craze in France for Egyptian themed architecture and arts, and the British were soon to follow. Egyptomania caused a cultural competition between the two nations. Fabrics were printed with “scenes of sphinxes guarding temples and obelisks covered in hieroglyphs,” sphinxes graced fountains, and Egyptian motifs found their way into literature (Parramore 20). Egypt was also associated with knowledge and learning at the time, which led to Egyptian themed libraries and universities (Parramore 19).

“She herself was merely a Sphinx without a secret.”

The Sphinx Without a Secret by Oscar Wilde

The allure of Egypt found its way into many facets of people’s lives. Egyptomania made its way into the physical environment, it showed itself in the arts, and was a craze that appealed to many people. In France, Egyptomania even altered burial customs and the way people viewed death. Burleigh describes this fascination by saying that “Europeans attached all sorts of inferences to [Egypt], viewing it variously as the primal seat of natural law, the remains of a golden age of civilization, and a repository of lost magical knowledge” (10). European collectors attached themselves to Egyptomania and from this “Londoners of all classes—some of whom were not yet welcome in museums—could spend the afternoon gazing at curious foreign objects in public pavilions and exhibitions venues” (Parramore 27). This common craze led to more than just cultural enlightenment, it led to…some pretty disturbing acts under the guise of entertainment. Showmen would unwrap mummies for the curious eyes of anyone interested in such a show.  Parramore refers to this as a “mummy striptease” and they were popular in England in the mid 1800’s (30). Some men even became famous for unwrapping and picking apart mummies which often led to the complete destruction of these once preserved bodies. Egyptomania was a cultural craze accessible to many whether it be the curious observer seeking knowledge or individuals who took advantage to fill their pockets.

The Victorian obsession with Egypt appears to stem from a fascination dating back to the Greeks and Romans who saw the Egyptians as a strange and foreign people. Parramore states that “ancient Egypt was absorbed into Roman culture to the point that most people forgot the source of the stories and architectural legacies that Rome had borrowed from its neighbor on the Nile” (5). But Egypt was known for more than its perceived “strangeness,” Egypt was a land of wisdom and ancient power. It was an intriguing location of philosophy and magic. The “intellectual stars” of the Renaissance “traveled to Egypt seeking enlightenment” (Parramore 9). Shakespeare was even influenced by the intrigue of ancient Egypt. His Cleopatra reflects the seductive notion of feminine Egypt.  By the Victorian age “the masses were more enthusiastic than ever” about Egypt’s secrets and “prominent public events fed the middle-class passion for ancient Egypt” (Parramore 32). It was around this time Percy Shelley and Horace Smith challenged each other, which resulted in Shelley’s poem “Ozymandias.”  Needless to say, Egypt’s appeal was long lasting.

The Sphinx in Video Games

In The Time Machine, the sphinx ultimately harkens back to the Greek tradition as it functions as riddler and monster. After I read this story, I started noticing the sphinx appearing everywhere, including in games. It’s inclusion in video games was curious, but I eventually saw how its reference fell into similar patterns.

EarthBound, RiME, Lego Marvel Super Heroes 2, Persona 5, Injustice 2, Assassin’s Creed Origins, Assassin’s Creed Odyssey, Tomb Raider: The Last Revelation, Sphinx and the Cursed Mummy, Wonder Boy: The Dragon’s Trap, and Super Mario Odyssey are just a few of the video games that include sphinxes in some form. The sphinxes in these games serve as keepers of riddles, barriers, and monsters. They are noticeable and alluring, drawing players in.

When approached, the sphinx in EarthBound asks a question: “Are you a thief, warrior, or one who has come to see my majesty?” Starting with this question is a nod to the sphinx’s role as riddler. If players unlock the pattern puzzle in front of the sphinx, a pyramid opens up, leading players to inner chambers where they’ll have to face the Fierce Shattered Man and other enemies. The sphinx is part of the game’s environment while also holding the “key” to enter a pyramid. In Super Mario Odyssey, the sphynxes are similar. There are multiple sphynxes that ask questions like “What is this land?” and “What type of flower did the traveler offer the bride?” These sphynxes are also guardians of treasures and locations.

In Persona 5, the sphinx is more monstrous. Futaba’s mother, Wakaba Isshiki, is presented as a “cognition” of the mind. The sphinx (known as the Palace Monster) is large, can fly, and attacks by diving and slamming into Joker and the rest of the party. This monster is a worthy enemy, putting up quite the fight. For Futaba, the sphinx represents grief, guilt, and trauma because she feels responsible for her mother’s death. As the fight progresses, the player sees Futaba as she tries to discern which of her memories are true (was her mother cruel or loving) and whether she is at fault. When the Palace Monster says, “You killed me!” the rest of the party realizes what the monster represents.

Morgana says, “Futaba’s desires and guilt must’ve distorted her [Futaba’s] cognition of her [mother].”

Persona 5

The Palace Monster then says, “You [Futaba] are nothing but a demon who stood in my way! I wish you had never been born!” This sphinx is wicked, violent, and personal. While this mother-monster is an illusion created by Futaba’s guilt, in the moment, the monster is very real. By the end of the fight, the Palace Monster is defeated, and Futaba’s mother appears in ghost form. She no longer appears as a monster but has returned to her human self. Futaba expresses her love for her mother and players are left with the sense she has found some closure. This sphinx is overcome not with a riddle but by uncovering a false memory and processing the reality of a close relationship. (Thanks to A New Game Plus for helping me remember the details of this sphinx.)

In the video games I’ve played or watched, the sphinxes tend to be guardians and monsters. They hold secrets, present riddles, and offer passage to new locations. This is all very much in line with the sphinxes of antiquity. Sphinxes also offer striking imagery to video game environments. They’re recognizable and spark a sense of curiosity. For example, even if players don’t know anything about the Greek sphinx when playing through Assassin’s Creed Odyssey, they’ll still understand through context the creature has significance.

Protector. Guardian. Riddler. The sphinx is an archetype that persists despite the medium. From The Time Machine to Persona 5, this image–this creature–continues to hold meaning in its riddles and transformations. I don’t know about you, but I’m excited to see where this magnificent creature appears next.

Want to help me build a list of games with sphinxes? Please share any and all video games in the comments!

Sources:

[Written Texts]

• A Sphinx: https://allpoetry.com/A-Sphinx
• Uncle Silas: https://www.gutenberg.org/files/14851/14851-h/14851-h.htm
• The Sphinx Without a Secret: https://www.gutenberg.org/files/773/773-h/773-h.htm#page121
• Parramore, Lynn. Reading the Sphinx: Ancient Egypt in Nineteenth-Century Literary Culture. Palgrave Macmillan, 2008. Print.
• Wells, H. G. (1992). The Time Machine [eBook Edition]. The Project Gutenberg eBook of The Time Machine, by H. G. Wells
• Masks of Eternity. (1988, June 26) (Season 1, Episode 6) [TV series episode]. Joseph Campbell and the Power of Myth. PBS.
• The Rare Book & Manuscript Library. (n.d.). The Time Machine. https://www.library.illinois.edu/rbx/hgwells2016/category/the-time-machine/
• “Archetype.” In Oxford English Dictionary online.
• Frye, Northrop. Anatomy of Criticism: Four Essays. New Jersey: Princeton University Press, 1957. Print.
• Harmon, William, and Hugh Holman. A Handbook to Literature. 11th ed. New Jersey: Pearson, 2009. Print.
• Campbell, Joseph. The Mythic Image. Princeton UP, 1990.
• Clark, Robert. Myth and Symbol in Ancient Egypt. Grove Press, Inc., 1960.
• “Egypt (Sphinx) Gallery” [Image]. Penn Museum. http://www.penn.museum/exhibitions/signature-galleries/egypt-sphinx-gallery
• Pinch, Geraldine. Egyptian Mythology: A Guide to the Gods, Goddesses, and Traditions of Ancient Egypt. OUP, 2002.
• Apollodorus. “Laois and Oedipus.” (Book III). The Library of Greek Mythology. Translated by Robin Hard, Oxford: OUP, 1997.
• Hesiod. “Theogony.” Theogony and Works and Days. Translated by M. L. West, Oxford: OUP, 2008.
• Pinch, Geraldine. Egyptian Mythology: A Guide to the Gods, Goddesses, and Traditions of Ancient Egypt. OUP, 2002.
• Sophocles. “Oedipus Rex.” The Theban Plays. Translated by Sir George Young, New York: Dover Publications, Inc., 2006.
• “Sphinx.” Encyclopedia Britannica. https://www.britannica.com/topic/sphinx

[Images]

• https://napoleon.lindahall.org/images/learn/devilliers.jpg
• https://napoleon.lindahall.org/images/learn/jollois.jpg
• https://napoleon.lindahall.org/images/institute/fourrier.jpg
• https://napoleon.lindahall.org/images/learn/luxor.jpg
• https://napoleon.lindahall.org/images/imagegallery/189001e.jpg
• https://napoleon.lindahall.org/images/learn/sphinx.jpg
• https://egyptianaemporium.files.wordpress.com/2015/08/img_1155-1.jpg
• https://upload.wikimedia.org/wikipedia/commons/c/ca/Thomas_Pettigrew_by_Skelton.jpg
• https://upload.wikimedia.org/wikipedia/commons/8/8f/Gaston_Maspero_demaillotage.jpeg
• https://upload.wikimedia.org/wikipedia/commons/d/d3/Great_Sphinx_of_Giza_May_2015.JPG
• https://www.pinterest.com/pin/cleopatra-look–20758848252717322/
• https://www.proxibid.com/Art-Antiques-Collectibles/Collectibles/Sphinx-mixture-tobacco-tin/lotInformation/43123952
• https://m.media-amazon.com/images/I/51Su5v4gAlL.AC.jpg
• https://movieposters.ha.com/itm/movie-posters/miscellaneous/carter-the-great-otis-litho-1923-one-sheet-2675-x-41-sweeps-the-secrets-of-the-sphinx-/a/7156-86388.s
• https://www.periodpaper.com/products/1903-ad-vintage-sphinx-ladies-cigarettes-cherub-cupid-tobacco-women-smoking-ysm2-236078-ysm2-005
• https://www.metmuseum.org/art/collection/search/437153
• Sphinx from RiME: https://youtu.be/VpqkJyveSKU
• Sphinx from AC: Origins: https://www.theguardian.com/technology/2017/oct/05/assassins-creed-origins-recreated-ancient-egypt-ubisoft
• Sphinx from Persona 5: https://www.player.one/persona-5-4th-boss-fight-help-futaba-defeat-aerial-cognitive-wakaba-593011
• Sphinx from Earthbound: https://www.youtube.com/watch?v=LvAhUYiPe7Y
• Sphinx from Tomb Raider: The Last Revelation: https://www.youtube.com/watch?v=Ni99bP1hCjw

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