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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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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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).

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“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

The post The Sphinx in Video Games: An Archetype from Literature to Video Games appeared first on Wedee.

Mainline Games:

• Far Cry (2004; PC) (PC Metacritic: 89)
• Far Cry 2 (2008; PC, PS3, X360) (PC Metacritic: 85)
• Far Cry 3 (2012; PC, PS3, X360) (PC Metacritic: 88)
• Far Cry 4 (2014; PC, PS4, XONE) (PC Metacritic: 80)
• Far Cry 5 (2018; PC, PS4, XONE) (PC Metacritic: 78)
• Far Cry 6 (2021; PC, PS5, XBOX series X) (PC Metacritic: 76)

Spinoffs/One-off Games:

• Far Cry Instincts (2005; Xbox) (Metacritic: 85)
• Far Cry Instincts: Evolution (2006; Xbox) (Metacritic: 78)
• Far Cry Instincts: Predator (2006; X360) (Metacritic: 78)
• Far Cry Vengeance (2006; Wii) (Metacritic: 38)
• Paradise Lost (2007; arcade game, a two-person railshooter)

Far Cry

• 2004 release, PC
• Developed by Crytek, Published by Ubisoft
• PC Metacritic: 89

Setting: Far Cry is set on a cluster of tropical islands somewhere in the South Pacific. There’s some variety in the game’s locations–beaches, rain forests, swamps, etc. Players will navigate villages, military outposts, and a high-tech research facility.

Plot: Jack Carver is a former special forces operative for the US in search of a missing journalist, Valerie Constantine. On their way to the island, Jack and Valerie are separated during a mercenary attack. While exploring the island in search of Valerie, Jack stumbles upon mutated creatures. These mutants (called Trigens) are running loose and overpowering the mercenaries. Jack must fight both mutant and mercenary before he can sail off into the sunset.

Comments: I found it intriguing to revisit Far Cry because so much that defines the franchise today is traceable to this game from 2004. The inclusion of vehicles, sandbox environments, online play, and freedom to approach targets is all there. Of course, these features are more limited than what we’d expect from a mainline Far Cry game now. One key difference is that Far Cry’s sense of an open world is more linear. Certain areas feel like an open-world, but the game also has you go inside various facilities at which point the game turns into a corridor shooter. Far Cry doesn’t fully commit to the open world. Something that sets Far Cry apart from later games is how it deals with a sci-fi problem. Far Cry deals with mutant creatures and a mad scientist. Aside from Far Cry: Blood Dragon, the franchise has steered away from sci-fi and focused more on overthrowing despots.

Other: Far Cry didn’t start as Far Cry. In 1999, developers from Crytek went to E3 to demo a game called X-Isle: Dinosaur Island. This demo had amazing draw distance (for the time) as well as stunning graphics (water had reflections!). It was because of this demo that Ubisoft signed X-Isle to be a AAA game. You might check out this Polygon article for some history on Crytek.

Flashforward to 2004, and that game was known as Far Cry. Far Cry was a commercial success selling over 700,000 copies in four months (“First Quarter Sales”). The game was highly praised for its visuals and touted as a successful and innovative first-person shooter.

Without a doubt, Far Cry has the most advanced graphics seen in any PC game to date. Everything in this game looks amazing, and the level of verisimilitude is unprecedented. Jungles actually feature dense foliage that consists of trees, plants, and tall grasses, and this foliage is filled with birds and insects. Beaches have blinding-white sand, and the surf slowly laps ashore.

Jason Ocampo, “Far Cry Review”

It creates a continuous strategic and tactical challenge while wowing my eyeballs with next-generation bells and whistles.

Tom McNamara, “Far Cry Review”

Due to Far Cry’s success, Crytek started getting noticed, which led to their deal with EA to make Crysis. From there, Ubisoft took over the development and publication of Far Cry.

Far Cry 2

• 2008 release, PC, PS3, X360
• Developed by Ubisoft Montreal, Published by Ubisoft
• PC Metacritic: 85

Setting: An unnamed eastern African nation.

Plot: Far Cry 2 is a game centered on madness, violence, and choice. This time around players take control of a mercenary whose goal is to kill the elusive Jackal (you actually meet him right away–this early meeting of the antagonist is something we see in later Far Cry games as well). The eastern African nation you are sent to has been torn apart by a civil war–both factions are brutal to the people who live there, and the Jackal is making things worse by playing everyone and providing weapons to both sides. As the game opens, you are sick with malaria, which is something you’ll have to manage throughout the game. After the player leaves the opening town, you’re basically free to start taking on quests, which involve helping an underground network and a local journalist who is covering the conflict in the area.

Comments: This game was developed in the Dunia engine and was meant to be more realistic than the first game.

‘Far Cry marked the beginning of a new era for shooters. An era of gorgeous graphics and of advanced artificial intelligence,’ said John Parkes, Ubisoft marketing man. ‘We are confident that Far Cry 2 will have the same impact again on the FPS genre landscape’

Robert Purchese, “Far Cry 2 announced”

Based on the way Ubisoft talked about the game in promotional material, dev diaries, and during the PAX 07 demo, they wanted Far Cry 2 to be set in a beautiful location many players hadn’t been to, they wanted the game to be realistic and immersive, and they wanted higher levels of gameplay. Those buzzwords were thrown around a lot–dynamic, realistic, immersive. Ubisoft’s marketing emphasized technological advancements to the point that people weren’t sure what Far Cry 2 was even about. Granted, they were talking about some pretty cool stuff–the effect of wind, trees being destructible, and how fire could be used to the player’s advantage.

Far Cry 2 featured an even bigger map and gave players more freedom. It introduced a day/night cycle, which you could play around with to approach your enemies. Weather was a significant element of this game to the point that it could change how you experienced combat encounters. For example, if it was windy, you could start a fire and let the wind blow that fire out of control. You could use fog to mask your position. Dust could kick up, and most things in the world were destructible. It’s also in this game we see the early experimenting with guns for hire. You could help people by doing side missions for them, which would strengthen your relationship. Far Cry 2 was one of those games that kept pushing “open world” games forward.

“Put simply, Far Cry 2 is the closest game we’ve seen yet to a true ‘open world,’ and that’s not just because you can roam around the entire game without ever seeing a loading screen. The only plot and environmental elements that are set in stone–the story’s ‘superstructure,’ as creative director Clint Hocking puts it–are those described in the previous paragraph. Everything else is mutable, based on your actions, allegiances, and chosen missions, and ultimately the cascading effects of all those choices you make.”

Brad Shoemaker, “GC ’07: Far Cry 2 First Look”

To this day, some Far Cry fans insist Far Cry 2 is THE best Far Cry game. Of course, there are those who say the game is overrated and no one should bother playing it. I played Far Cry 2 on PC years ago, and I enjoyed it. But it’s definitely a product of its time. Far Cry 2 was necessary for the franchise to move forward and also for the development of open world games. It reflects a lot of ideas (some executed better than others), and those ideas reflect the exploration necessary for games to develop further. Unlike a lot of games at the time, Far Cry 2 had a level of openness in terms of the narrative. There weren’t as many guided paths and cutscenes. Instead, the world responded to the player’s actions. For example, I might fail a mission or other objective and that wouldn’t derail the overall narrative, it would be a part of it. What you do and how you do it affects your reputation in the game, which in turn determines the interactions you’ll have.

Other: Initially, Far Cry 2 seemed to confuse a number of people. Game journalists had good things to say about the game, but they didn’t get why it was called “Far Cry 2” being that it didn’t share any characters in common with the first game and that many of its features were different. Far Cry 2 is also different tonally. It’s dark, violent, and depressing.

Far Cry 3

• 2012 release, PC, PS3, X360
• Developed by Ubisoft Montreal, Published by Ubisoft
• PC Metacritic: 88

Setting: Set on a cluster of pirate-controlled tropical islands, the Rook Islands, somewhere near the Pacific Ocean.

Plot: Jason Brody and his friends are on vacation and living it up in Bangkok. They decide to go skydiving, which leads them to the Rook Islands. Apparently no one tells them the Rook Islands are under the control of pirates because the group ends up getting captured. Vaas, a kind of pirate lord, intends to put a ransom on the young adults and then sell them into slavery. But Jason breaks free and is taken to one of the Rakyat villages. From there, Jason aligns himself with the Rakyat and sets out to fight against the pirates and private soldiers across the islands. As he does this, he searches for his friends and becomes closer to Citra, the leader of the Rakyat.

Comments: Far Cry 3 plays a lot like the most recent Far Cry games. The emphasis is on combat and exploration. There’s a variety of weapons and vehicles available, skill trees to level up in, and experience to earn. You have items to upgrade and have to hunt different animals. Cutscenes are back and the narrative is more linear than in Far Cry 2. As for critical reception, Far Cry 3 was praised for its characters (mostly Michael Mando’s performance as Vaas), world design, and gameplay. There’s a lot to like with this one and it’s obvious why fans continue to look back at Far Cry 3 with fondness.

Far Cry 3 presents players with a generally meaningful open world. It doesn’t fall prey to being too big for its own good. The world is big enough and yet still focused on narrative experiences that engage players without those experiences becoming too recycled or predictable. However, the game is problematic on a number of levels, and I can’t talk about the game in this context without acknowledging that. It falls into the white hero narrative trap. The Rakyat are sexualized. Jason’s fragile masculinity is the driving motivator for nearly all his actions. He’s fragile and coddled throughout the game, which is ultimately built on this toxic male fantasy of domination, sex, and violence. Narratively, Far Cry 3 is a mess. As an open world playground, Far Cry 3 was a refreshing moment for the franchise. But it’s also where this disconnect between open world playground and “serious” narrative begins to form for the series. And that divide has only grown deeper as more games are released.

Other: The developers wanted the Rook Islands to feel like a character in the game (“The Development Secrets of Far Cry 3“). They put a lot of care into the islands’ design, using an algorithm in the Dunia Engine to procedurally generate large areas in the world (they’d then go in and adjust things manually). This made the game’s environments less predictable and more dynamic. Dynamic. They really like that word.

Far Cry 4

• 2014 release, PC, PS4, XONE
• Developed by Ubisoft Montreal, Published by Ubisoft
• PC Metacritic: 80

Setting: Far Cry 4 takes place in Kyrat, a fictional Himalayan country that’s inspired by regions in northern India and Nepal. The game’s map is divided into two major regions: north-west and south Kyrat. The southern part of the map is relatively open to the player from the get-go, while the northern region unlocks as the story progresses and the conflict rises. As for the environment, Far Cry 4 is more vertical than previous games. You can traverse mountains, forests, valleys, and rivers. And with the setting, there are some new animals to encounter such as the Asian elephant, Asian rhino, brown bears, and tigers.

Plot: The game starts with Ajay Ghale on a bus. Ajay is returning to Kyrat to fulfill his mother’s last wish of having her ashes brought to Lakshmana. Of course, it wouldn’t be a Far Cry game if the antagonist didn’t immediately interrupt the protagonist’s plans. Pagan Min appears with flair and fashion. Due to Pagan Min’s interruption, Ajay is unable to leave and instead gets involved with the Golden Path, a rebel group trying to overthrow Pagan Min. The Golden Path is struggling to even hold on at this point, but with Ajay in Kyrat they have a fighting chance (there’s that hero narrative again). In addition to helping solve the conflict between Pagan’s forces and the Golden Path, Ajay must sort through the internal conflict between the Golden Path’s leadership. Will Ajay be loyal to Sabal (a traditionalist) or Amita (a more progressive-minded person)?

Comments: Development of Far Cry 4 started after Assassin’s Creed 3 released in 2012, but it was in 2013 that Ubisoft suggested another Far Cry game was in the works. Far Cry 4 released in November of 2014 and sold more than 1.5 million copies in the first week, making it the biggest launch for the franchise at the time (“Far Cry 4“). The main goal is the same as always. Fight bad guys, take over outposts, gain experience, grab new weapons, make things go boom. Far Cry 4 does include some role-playing elements with two skill trees–the Elephant, which involves defensive skills like strength and healing, and the Tiger, which involves offensive skills like various takedown moves and the ability to reload while running.

I’ve played Far Cry 4 several times and it seems like Ubisoft was confident in their abilities to make an engaging world with beautiful environments and locations while playing with more verticality than in previous games. It takes the successful components of Far Cry 3 and adds even more to see and do.

Other: Do you remember the outcry regarding the game’s cover art? That’s right. Far Cry 5 wasn’t the only Far Cry game that sparked reactions for its cover art. You can read about it here: “Don’t judge Far Cry 4 by its cover, says game director” by Jeffrey Matulef.

Far Cry 5

• 2018 release, PC, PS4, XONE
• Developed by Ubisoft Montreal and Ubisoft Toronto, Published by Ubisoft
• PC Metacritic: 78

Setting: Hope County, Montana is the fictional region featured in Far Cry 5. Within Hope County, you’ll find lakes and rivers, fields, farms, woods, and mountains. Montana isn’t the typical vibrant, tropical location the franchise featured previously, but it’s still a cool place to explore. (Maybe it’s because I grew up in the Midwest and love the woods, but I appreciated having a game set in America and in an area that isn’t visited frequently in video games.)

Plot: Players take on the role of a deputy part of a joint operation between the Hope County Sheriff’s Department and the United States Marshals. Your goal is to arrest Joseph Seed (a religious cult leader) on charges of kidnapping. Per typical Far Cry fashion, everything goes to shit and you’re left stranded in the county. During your time in Hope County, you’ll free captives, fight Seed’s followers, help your allies, and reclaim the region for its residents. There is a lot to do in this one. In a Vice article by Austin Walker, Dan Hay, the game’s creative director, referred to Far Cry 5 as an “anecdote factory.”

“…it’s a Far Cry game, you’re gonna be able to go in, it’s going to be an anecdote factory. You have a whole bunch of stuff to do and you can play it however you wanna play it, and you can assemble the story as a choose your own adventure…”

Austin Walker, “Talking Cults and Culture with the Developers of ‘Far Cry 5′”

And that’s pretty true to how the game plays out. Of course there are a ton of icons on the map and a quest list to work through, but Far Cry 5, out of all the games prior, opened up early on and left it to players how they wanted to proceed.

Comments: Far Cry 5 was aggressively marketed and immediately captured people’s interest due to it being set in the U.S. and to the religious and cult elements teased throughout the promotional material. Ubisoft released promotional videos, they came out with a book, and there was a short film on Amazon for a time. They were out to SELL this game. And, of course, the Last Supper-inspired cover art drew a lot of attention and inspired and provoked. All of that led to Far Cry 5’s commercial success; in its first week, it made over $310 million (“Far Cry 5 Breaks Franchise Sales Records“).

As much as I enjoy Far Cry 5, I do believe the narrative fails itself in several ways. The narrative designers could have played up the cult more and engaged with the cult on a deeper level. One of the things the franchise does is it includes optional texts (notes, letters, audio files, etc.) throughout the games. In Far Cry 5, you get some pretty interesting stories of people who dealt with Eden’s Gate–how they were approached by the cult, rumors they heard about the cult, and various interactions they had. Some of those notes are more interesting than what I saw of Eden’s Gate. I think that some of those smaller narratives should have been brought more to the forefront so that players could really experience and see Eden’s Gate as a manipulative force in Hope County. Part of what’s so intriguing about cults is how they get to people. How they work their way in, convincing people that they have something valuable to offer. Cults often separate people from their families and friends. They isolate their members. I wanted to see and hear and feel more of those things in the game. Without them, Eden’s Gate is not much different from Pagan Min and his followers or Vaas and his pirates. Bringing in a cult was a good idea, but I don’t think it was developed all that well. I wasn’t sold on Eden’s Gate being a unique group that was vastly different from the bad guys and their cohorts we’ve encountered before.

Other: One of the things I found annoying at the game’s launch was Ubisoft’s insistence that Far Cry 5 is not a political game. And yet, in the same Vice article referenced above, Hay’s said the following: “It’s about the state of the world right now, where everything feels like it’s a little bit closer to the edge than it should be. And that maybe we need to take a step back. Maybe there’s a moment where we need to think.” But yeah, the game isn’t political (*wink).

Far Cry 6

• 2021 release, PC, PS5, XBOX series X
• Developed by Ubisoft Toronto, Published by Ubisoft
• PC Metacritic: 76

Setting: Fictional island of Yara, set in the Caribbean and partially modeled off Cuba. This location is the largest world presented to us in a Far Cry game yet.

Plot: Set in the present day, Yara is an isolated island. Its economy is suffering and Anton Castillo has been “elected.” He promised to solve all of Yaran’s woes, turning them into a prosperous nation. In reality, he’s working people to the bone, killing any who oppose him, and ruling through fear and force. Dani Rojas, working with members of Libertad (the guerilla movement) must fight alongside various allies to overthrow Anton. Players will make alliances, run errands, and overtake outposts.

Comments: Far Cry 6, in many ways, feels like a direct response to Far Cry 5’s supposed lack of political commentary. Far Cry 6 throws players into political conflict. The game is inspired by revolutions, such as the 1950s Cuban Revolution, and comments on fascism, imperialism, and democracy. This game is also notable for its callbacks to earlier games, such as Far Cry and Far Cry 3’s tropical settings, and the voiced protagonists of games like Far Cry 3 and 4. Far Cry 6 plays very similarly to Far Cry 5. You have a variety of weapons at your disposal, along with Resolver weapons, which are tied to perks, and Supremo backpacks, which let you do things like fire missiles. The game also has a “Rank” system–the map is divided into ranked regions and enemies become more difficult the higher your rank. You also have access to several camps in the game, and each of those camps has facilities to level up. There’s nothing too unique about the features added to the game, but they spiced things up some. Some people might complain about franchise fatigue. Far Cry 6 is a functional game; things work. But if you don’t like the formula, it probably has little to entice you.

Other: Because of the emphasis on politics and fascism, this game has some great examples of propaganda. There are a number of posters and billboards in the game that show Anton interacting with Yaran civilians, working on a car, standing in a field of farmers, with big smiles on their faces, and strong confident postures. It’s really interesting to look at. You can check out some of those images here: “Look: The Propaganda of Far Cry 6 in 10 Unnerving Images.”

Final Thoughts

Overall, Far Cry is a commercially successful franchise for many reasons. I do wonder what the future holds. I’ll be curious to see if they ever attempt to deal with the growing rift between fun playground and serious narrative commentary. I do hope they continue on a path of cultural sensitivity–taking the time to really study and know an area and its people before incorporating them into their games. I worry about the franchise’s future because of its dependence on location. They sell many of their locations as something “other,” and that presentation of location and culture often results in “exoticizing,” which is unnecessary. Location can serve as character without othering, but that would require bringing in outside experts. And I’d also like to see more significant choices, choices that truly have an impact. I don’t need every video game to be heavy and serious, but if decisions are meant to matter make sure they matter. Otherwise, offer us an open world with a linear story and sell it as such!

The post Far Cry Retrospective appeared first on Wedee.

Note: this blog post is a space for me to reflect on games and some spoilers do follow.

Assassin’s Creed Valhalla (PS5)

One of my favorite video games is Assassin’s Creed IV: Black Flag. It was also the first AC game I played all the way through. I had an awesome experience with it! I mean, come on. Pirates! I went on to play Syndicate and Origins, which I generally enjoyed. So when I heard about Valhalla, I was curious to see what Ubisoft would do with Vikings and 9th century England.

Unfortunately, Valhalla does suffer from some serious pacing issues (the repetitive gameplay loop was especially noticeable mid to late game), lackluster character development (seriously, why does Basim suddenly shift? the writing for his character is a bit of a mess), and bugs. It feels like a step back for the series on several fronts; however, I still enjoyed exploring the British countryside and beyond (Vinland was my favorite side location to visit), learning about Vikings, and sharing Eivor’s story.

Initially, I was worried the Viking way of life might not mesh well with assassins and stealth, but considering the franchise’s shifting combat system and non-stealth options for approaching missions, Vikings + Assassin’s Creed worked just fine. And base-building was a welcome addition to the franchise as I think it added depth to Eivor and her community, allowing for more Viking stories to be told and side characters to shine.

While there is plenty to enjoy in Valhalla, the bugs, pacing issues, and side quest system were at times frustrating. It is interesting to track the subtle changes and new systems Ubisoft introduces across their franchises, and we can see the continued development of some of those systems here (such as combat and the way side quests work). It often takes Ubisoft a few iterations to really nail down those systems, and I think that’s true with Valhalla. My hope is that the next AC will reflect a tighter narrative experience. I do not necessarily want open world games to be smaller, but I would like to see more thoughtfully developed and paced main campaigns.

If you enjoy massive worlds, history, political betrayal and in-fighting, Valhalla might be worth checking out!

Cyberpunk 2077 (PS5)

“Night City is a city of shadows” ~ Kerry Eurodyne

Much can be said about Cyberpunk 2077. In this post, I will try to limit myself to the experiences I had with the game and avoid the chaotic and unreasonable Gamer discourse inundating the Internet. After playing 113 hours and getting platinum, I can say that Cyberpunk 2077 does little exceptionally well. At it’s best (yes, even if you strip the dozens upon dozens of bugs and the crashes–I stopped counting after 20 crashes within my first five days of play), the game is an average open world RPG with a cyberpunk aesthetic laid over familiar systems and tropes. For the record, I acknowledge that Cyberpunk 2077 has been rightfully criticized for its representation of marginalized people, and I agree with much of that criticism, but I will not be commenting on that here–perhaps in a future post.

In some ways, it is difficult for me to write about Cyberpunk 2077 without pointing out its flaws or separating my experience from them. I went into the game cautiously optimistic and hoping for an exciting world. Night City ended up being a lifeless and uninspiring location where NPCs say and do little and the streets become a repetitive loop of advertisements and over the top imagery, which, at times, comes across as more immature than adding to any critical perspective or questioning of corporate greed. And that’s such a shame considering the main story is an exciting and tight narrative experience. CDPR’s The Witcher 3 is lauded for its story (both the main story and side quests) and some of that same quality of story-telling is apparent here, but even the narratives running through this city of neon lights struggle at times to feel satisfying. While many of the characters are interesting, some of their stories end abruptly, with little of substance to really show for the effort put into assisting them through their troubles.

And that leads to one of my biggest critiques of Cyberpunk 2077–the game feels underdeveloped in a multitude of ways. Again, bugs and crashes aside, some systems in the game are not fully realized. For example, CDPR seemed excited to announce the game would include racing. The racing felt like an afterthought–I would not be surprised to learn it was either a late addition to the game or a rush job. Driving in the game is loose when you are cruising Night City normally, but the racing is a joke. The game “cheats,” always ensuring your opponents are never too far behind regardless of your skill behind the wheel. And the race in the Badlands felt especially floaty and just…bad. The vehicle’s control poorly and do not really feel like they make contact with the ground. Unlike other games that involve racing during quests and also introduce racing as an optional activity in the world, Cyberpunk 2077 only includes racing as part of Claire’s side missions. This added to my sense that racing was never a significant part of the game.

Continuing with the pattern of under-realized and incomplete elements in the game, the life paths were especially disappointing. Aside from some dialogue options that have no real impact on the world or its stories, the life paths are incidental. I do believe the life paths were meant to be a far more significant part of the story (based on the game’s advertising), and the Nomad life path seemed the most fleshed out and connected to the world. I have to wonder if the life paths were developed further but were pulled way back in development (perhaps due to issues with their implementation or due to the demands of meeting a deadline). Regardless, I never felt like V was really my V, and as a result, I felt like a passing visitor in Night City as opposed to a resident with a history.

When I first beat the main story after 28 hours, I was left wanting more. And after playing through alternate endings and completing everything on the map that feeling did not change, which speaks to both the game’s faults and strengths. I experienced all that Cyberpunk 2077 had to offer and wished for a more fully realized and developed world, a world with depth. To be clear, I did not need the game to offer anything revolutionary, but I did expect a well-crafted game (with maybe the same level of issues as The Witcher 3 had at launch). At the end of two weeks, I put in over 100 hours because I did get something out of the game. The foundation of a really good game is there–a large open world, a relatively strong main story, the potential for a wide range of intriguing characters, a variety of activities, and a city that could be really atmospheric and unique with some work. I will be curious to see where Cyberpunk 2077 stands in a year.

Ghost of Tsushima (PS4)

The last game on my list is not only a gem compared to the previous titles but is my game of the year. I played Ghost of Tsushima at launch, knowing little about it or Sucker Punch’s previous games, but quickly fell in love. I do not throw around the word “love” lightly, but I thoroughly enjoyed every minute of my nearly 90 hour playthrough. Playing Ghost gave me that rare magical feeling that’s hard to put into words–a feeling I have only felt a few times when playing video games. The game is well designed, and I experienced it at the right time for me. Ghost offers gorgeous environments, a protagonist caught between tradition and a newer path necessary to fight an overwhelming foe, excellent voice acting, and challenging but accessible combat.

Ghost tells the story of Jin Sakai, a samurai tasked with leading a resistance to reclaim the Island of Tsushima from Mongol invaders. “The Ghost” must reclaim outposts, assist a cast of characters, and complete a variety of tasks during his journey. Jin is a likable character and one who struggles throughout the course of the game. Some of his inner struggles are relayed through flashbacks to his youth, and these cutscenes and gameplay segments always added depth to an already strong story. Jin and his choices are interesting and so are the involved side quests for characters like Yuna and Sensei Ishikawa. Unlike some games where character-driven side quests can feel disjointed from the main story, Yuna’s and Sensei Ishikawa’s stories connected back to Jin and his mission to defeat the Mongols.

Initially, I was concerned about the game’s combat system. Would it be Dark Souls-like? Fortunately for me, the combat was not difficult to master and the four stances (which are easy to switch between) offered nice variety against the various enemies. Dodging, parrying, and special weapons help move the combat beyond simple hack and slash, as do the armor and charm options. Combat felt satisfying whether I was using a sword or a longbow. It was also easy to switch between stealth and combat, and I felt the game provided enough flexibility for completing missions.

The Island of Tsushima is gorgeous. I cannot stress that enough (the above screenshots speak for themselves). I was pulled into landscapes that are beautifully shaped and crafted to call upon your inner explorer. I wanted to see everything the world offered, making Ghost an easy platinum. And when I was finished, I was sad to have completed everything (since then, a major update has added a New Game + and online mode, so there is even more to experience). I was constantly stopping to take screenshots–of the world, of characters, of animals, of the menu system. The game is wonderfully detailed and visually pleasing, to the point that I enjoyed the menu system and loading screens. I rarely give a game’s menu system a second thought unless it is designed poorly, but with Ghost I noticed the menus because they were well-designed and beautiful.

All-in-all, Ghost of Tsushima is an obvious standout for me. The story is engaging, and I was eager to see Jin’s story through. There is a lot that I could say about this game, but I am going to hold back on my excitement and potential spoilers and cut myself off. The game is a delight and an easy recommendation.

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In reflection of a year well spent, I present a very brief post of my top 10 favorite video games of 2017. I debated briefly whether to compile a list of “favorite” or “best” and ultimately decided that I’d rather share the joys of gaming than to necessarily debate the “best” games of 2017.

I hope you enjoy, and please feel free to share in the comments some of your favorite games of the year!

10. Everybody’s Golf

At the start of 2017, I never would have thought that a golfing game would end up on my list of favorites. But I guess there’s a first for everything. Everybody’s Golf offered some of the most fun I have had with a video game. It manages to find a balance between arcade and simulation while offering plenty in the way of singleplayer and multiplayer game play. The customization is amazing, the courses are challenging and fun, and playing with friends is a blast.

9. Emily is Away Too

I’m sure the inclusion of this indie on any end of the year list is a surprise, but to me, it was truly a gem. Emily is Away Too manages to capture the highs and lows of being a teenager in the 2000s while articulating a range of emotion. To dismiss this title as simply a “visual novel” is to deny the form its depth. The nostalgia-factor and experimental narrative easily earn it a spot here.

8. Sniper Elite 4

Hands down, Sniper Elite 4 is the most technical shooter I played this year (and the first I completed in the franchise). It offers an enjoyable campaign with a variety of levels/maps that leave plenty of room for challenge after the story is complete. The objectives and stealth are satisfying, a range of creative approaches may be applied to each scenario, and sniping Nazis never gets old.

7. Super Mario Odyssey

An infusion of new and old combine to make Super Mario Odyssey a joyous time stomping and possessing bad guys. It’s been a long time since I’ve really enjoyed a platformer, so this one released at a good time. Admittedly, I am nowhere near finishing the game.  I’m taking my time with it because 1) it feels like a sin to rush a Mario game and 2) I initially struggled with “getting” into it, and so I don’t want to diminish the magic. I’ve played enough to see how delightful this 3D Mario game is, and I look forward to diving in more fully over the winter break.

6. Wolfenstein II: The New Colossus

Wolfenstein II: The New Colossus is a solid and addictive shooter. Sporting quality level design, fast gun-play, and an absurd yet engaging story, WII is everything I expected from the franchise and more. The cast of “good” guys and gals is lovable and the villains utterly despicable. Fighting Nazism within the emotional and thematic context the game creates leads to an exceptional first-person shooter experience.

5. Assassin’s Creed Origins

Assassin’s Creed Origins has successfully brought the franchise back onto the rails. Ubisoft notably raised the quality of the story, the game’s mechanics, and the world. With improved combat and a protagonist with a personality, the game held my attention long enough to platinum. While Black Flag holds a special place in my gaming heart, Origins represents one of the better open-world games that released this year.

4. The Legend of Zelda: Breath of the Wild

The Legend of Zelda: Breath of the Wild brought me back to my childhood and entertained me for hours. While weak on urgency and narrative at times, the open world calls out for exploration. Around nearly every corner is something to be discovered or completed. The characters are crazy (in good ways), the combat is generally enjoyable, the music is fantastic, and the cooking is 10/10. Need I say more?

3. What Remains of Edith Finch

The experimental narrative elements at play in What Remains of Edith Finch deserve recognition. It is by no means a perfect project, but the way the game stretches and manipulates narrative results in both captivating sequences and gut-wrenching moments that won’t readily leave players. It has been aptly described as a roller coaster of emotions, but as much as the game makes you feel it makes you think. For me, part of the game’s beauty lies in what players can think and feel, what they can experience, in light of the game’s mechanical limitations (looking, walking, interacting with objects). When I reflected on the ways it challenges player expectations and expands narrative experiences offered by games, I couldn’t leave it off this list.

2. Horizon Zero Dawn

Despite some initial hesitation on my part, Horizon Zero Dawn quickly stole my heart. I was captivated by the fiery Aloy and by the lore of a world overrun by monstrous robots. Taking down the mechanical monsters was both exhilarating and satisfying, and the sense of urgency provided by the narrative kept me playing to answer the world’s questions. HZD offers much gaming goodness to RPG fans in terms of the densely-populated world, distinctive enemies, story, and characters–a genuine job well-done by Guerrilla Games.

1. Persona 5

Persona 5 takes the spot for favorite game of 2017 for several reasons, the most paramount being that Persona 5 is near perfect. Atlus took such care with this game, and it immediately shows. Everything (story, characterization, world, music, combat, etc.) down to the animations shows the passion that went into this game’s development. The only critique I can offer is that Persona 5 has a slight issue with pacing in the final quarter of the game. The game offers quality and quantity, humor and darkness. The thematic range coupled with the outstanding gameplay make Persona 5 a game I will be thinking and talking about for a long time.

Honorable Mentions:

• Uncharted: The Lost Legacy (Good. Solid. Just not incredibly spectacular)
• Mario + Rabbids Kingdom Battle (Unexpectedly enjoyable. Perhaps one of the better Mario games in recent years. I need to get back to this one.)
• Hellblade: Senua’s Sacrifice (Haven’t finished this yet. I’m finding it mentally draining and slow-going, but that’s the point, right?)
• Destiny 2 (Sports a story-driven campaign and the gun-play is fun.)
• Stardew Valley (Just kidding…But seriously, what do you do with a game that released on a new console, the Switch, and is just as awesome as it was the year before?)
• Star Wars Battlefront II (I know I’ll get slammed for liking this one. It’s certainly not perfect, but without the blasted micro-transactions and afk-farmers it’d be a 8/10 for me. It could have been great. Smh, EA..)

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Open world rpgs are among my favorite type of video games, and when I first read rumors that the next Assassin’s Creed game would be centered in Egypt, I could not contain my excitement. Thankfully, the 10th installment in the franchise does not disappoint. Between what has made the franchise generally successful in the past and some new additions, Assassin’s Creed Origins has firmly established itself as one of the more polished games in the franchise.

Story

Set in ancient Egypt, Origins offers players the opportunity to take part in the actual origin story of the assassins. Bayek, a Medjay responsible for the welfare of the people in a social sense, is a man led by revenge. This rage leads Bayek to fight against Ptolemy XIII and the Order of the Ancients, a mysterious group of masked men responsible for abducting Bayek and his son. Eventually, Bayek enters into the favors of Cleopatra who seeks to gain power from her younger sibling, Ptolemy. Along with the help of his wife, Aya (at times playable), Bayek manages to manipulate the political environment of the region, which includes interactions with the Greeks and even Julius Caesar, for the benefit of his revenge.

Overall, the story of Origins is strong and compelling. Several moments pulled on my emotions and the greater arc of the narrative balances political messages with the personal stories of a man seeking to restore order both on a personal level and nationally. A number of the quests, both from the main story and side narratives, explore emotionally charged matter to keep the player engaged with the struggles of Egypt’s people. With each quest, I felt that I was helping someone, that my actions had impact even in the corner of some small village in the desert.

Stealth & Combat

A welcome change to the franchise comes in the form of combat. As always, stealth plays a significant part in AC games, but in Origins, Bayek feels a bit “heavier” than other assassins. His movement is slower, and his stride lumbering. While perfectly capable of stealth, I felt as though Bayek was meant for combat, which was fine by me. He’s aggressive and can perform combo, quick, and heavy attacks on enemies. His shield may protect him for a time against lunging enemies or when up against multiple foes, but Bayek can also dodge their attacks or take advantage of more stealthy options.

Initially, Bayek won’t be very successful fighting too many enemies at once, and you’ll need to watch your approach. A number of weapon types can be used (dual swords, heavy blades, heavy blunts, regular swords, scepters, sickle swords and spears) and are in relative abundance throughout the world along with a variety of bows. Each weapon will also have a stat or two such as poison or critical hit. Of course the standard hidden blade is a must and becomes available after a time.

The game also has a leveling system which lets you unlock new abilities and cater to your individual play style. This progression system plays into which weapons are usable at your current level and now come in common (blue), rare (purple), and legendary (gold) form. Each weapon will be at a certain level that can be upgraded at any time to match Bayek’s level. Weapons can be upgraded as many times as you like, so hold onto those legendaries even if they’re level 1.

And as with another Ubisoft franchise, Far Cry, players have options for completing objectives. You can use your eagle, Senu, and her eagle vision to scope out the area, whether it be a military outpost or a bandit camp. Move in stealthily, release a caged lion, or charge in lighting oil jars as you go. The options are yours for the making.

World & Activities

Outside of Assassin’s Creed IV: Black Flag‘s world, Origins is my favorite. Admittedly, I have a bias toward Egypt. I’ve always wanted to travel there, and I’ve collected information on the Sphinx as an archetype for a few years now, so that may have impacted my excitement for this game. However, it is undeniable that much of the world is beautiful and appears alive and authentic.

Anyone familiar with an Ubisoft game map will find much familiar with Origins‘. Icons denote the locations of cities, outposts, tombs, and other points of interest. Despite the desert local, the game is fairly balanced with open spaces and areas to explore. The main story can probably be completed in around 30 hours, but there’s plenty to do by way of sides quests and enough to see to last players at least twice that time. I ended my completionist run at 75 hours.

Side quests and activities are abundant in Origins. The game doesn’t completely avoid the bane of open world fetch quests and the like, but it does a decent job at keeping many quests relevant; quests often are revealing of character, turmoil, and political conflict in the game. Players will have the opportunity to solve mysteries, track down missing characters, fight in the arena, race chariots in the Hippodrome, and even engage in ship-to-ship combat (as part of the main story).

Outside of these regular activities, if taking screenshots is a favorite gaming pastime for you, the game features a photo mode, which only makes sense for a game with so many interesting temples and locations. I loved finding crumbling temples, ships lost to the sand, and other gems throughout the world. There’s much to capture in terms of culture as well. As a side note, I will not complain if more games keep adding photo modes.

Criticism & Final Thoughts

Assassin’s Creed Origins is one of the better open world games I have played and is one of the best in the franchise. The game does have that characteristic Ubisoft “feel” in that there will end up being hundreds of icons on the map and so many side quests to complete that the game can feel overwhelming at times if you get caught up in the map. And while this isn’t an ill exclusive to Ubisoft titles, it’s still worth mentioning.  This is of personal preference, but I think that the music could have been stronger and the story, while overall cohesive, could have used additional polish.

The only thing I came across in the way of bugs had to do with Bayek getting caught on the edge of something. But with some crouching and jumping, I was always able to free him. As with past games, there’s a lot to climb, and the developers seem to be improving this mechanic. Bayek is able to clamber up a lot more structures and natural formations than previous assassins and the “holds” or “catches” are more seamlessly part of those structures. There aren’t as many ugly ledges noticeably sticking out screaming “here! grab here!” However, Ubisoft could do more to improve the fluidity of the climbing/parkour system.

After two weeks with the game, I can say that the weapon and enemy variety, leveling and combat systems, story, and world are enough to make Origins a must buy for fans of the franchise and for newcomers. It’s just a fun game. Getting to explore ancient Egypt as Bayek was a joy, and the hours were well-spent. If Ubisoft continues to spend time on each new entry, the franchise could see some significant growth with the next few titles, and that’s an exciting prospect.

Click to view slideshow.

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Sometime in 2015 I heard about an indie project called Stardew Valley. It piqued my interest because of its similarities with the Harvest Moon franchise, which has always held a place in my heart. When ConcernedApe’s game released in February of 2016, I immediately made the purchase. I even wrote a short piece on my previous blog (now re-posted here on Wedee as “Stardew Valley“) discussing a few of its features and what made it “special.” Since then, Stardew Valley has been released on console (including the Switch! Finally!!) and has enjoyed great commercial success.

With the game’s Switch release on October 5th, Stardew Valley has again become my primary game. In between grading and translating for my Old English class, I’ve managed to spend 35 hours building my farm and establishing my place in the community. It might not sound like very long, but hey, I’m trying. :p

So here I am again writing about a game that I find entirely more endearing than any other I’ve played. But while I love this little title, I also find it difficult to adequately describe the magic that is Stardew Valley. From about August-October of this year, I absorbed every new bit of info made available, from fact to speculation, about when the Switch version would drop. One of my close friends, Joey over at A New Game Plus, was kind enough to put up with my obsession and even challenged me to convince him of making the purchase for the Switch (he’s now equally, if not more, obsessed with it). That moment of discussion was one that reminded me of how challenging it can be to sum up the game and everything that makes it a standout.

Stardew Valley isn’t just about maintaining a farm, forming relationships with the townsfolk, and getting married. It can be each of those things or none of them at all. And that, I think, is a part of what makes the game special (I’ll probably overuse “special” and “endearing”; forgive me). You could get away with mining for days, never building a single barn, and refusing to fish because it’s too damn hard. On the flip side, you could attempt to do everything the game offers. In addition to the freedom to, essentially, do what you want when you want, the game very rarely makes players feel guilty for their decisions. Now, I’m not saying we need more games that encourage us to shirk responsibility, but it’s nice to have the option of living a low-pressure, pixelated life as a farmer in a world that is a joy to inhabit.

For such an inexpensive game available on multiple platforms, Stardew Valley offers hours upon hours of gameplay. I’m not ashamed to say that I’ve handed my money over for it three times now (PC, PlayStation 4, and Nintendo Switch). The game has been more than worth it. When I bought it on release for the PC and PlayStation, Stardew Valley was a game that brought me enjoyment through entertainment. If I had an hour to fill or it was the weekend, I played. Now that I’m back in graduate school, I have very little time for gaming or blogging. And I have to be highly selective with any “free” time that comes up. Yesterday I thought about starting South Park The Fractured but Whole or continuing my slow progression through The Evil Within 2, but ultimately went with Stardew Valley because I knew I could be productive in-game whether I played for ten minutes or two hours. If I’m unable to play for another few days, I won’t feel as though I fell behind or missed out. That’s another aspect of the game that makes it so popular; it’s incredibly easy to sit down and play, to jump right back into what you were doing last play session. Whether player’s are looking for purposeful distraction from “the real world” or happen to look up from playing and three hours have passed, the valley accommodates.

Since playing Harvest Moon 64 as a child, I’ve found myself drawn to similar games. Games such as Rune Factory were fun to play but failed to capture my heart in the same way that my recollection of Harvest Moon does. Recently I managed to snag a copy of the Nintendo 64 classic, though I haven’t been able to play just yet. Regardless, Stardew Valley has come the closest and, despite my nostalgia, probably surpasses Harvest Moon in terms of the feels.

Again, I think my praise for Stardew Valley is lacking. It really is a game that needs to be experienced for full effect. And if it doesn’t resonate with you, that’s okay too. You know where I’ll be.

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