Generica

This article makes the claim that a certain type of combat-free environment-based platformer constitutes a “new subgenre” of games. This is wrong for every possible reason, and we’re going to go through all of them.

First, the claim to novelty is straightforwardly false. There are lots of games that are focused on navigating an environment and avoiding dangers rather than fighting (even Mario games are mostly like this), and indirect storytelling is actually an overused and obnoxious fad right now. Bizarrely, the author lists a bunch of counterexamples only to dismiss them for basically no reason, despite the fact that they really are counterexamples. Abe’s Oddysee is precisely a game in which you have no combat abilities and have to negotiate threats through guile and evasion, and in which the story is told through environmental setpieces. Furthermore, the presence of combat or text or narration doesn’t change the general type of thing that a game is. Combat in games is just a metaphor, after all. Pressing A at the right time might represent either attacking an enemy or jumping away from a threat, but it’s still the same action. The point of analysis is not to pick as many nits as you possibly can; it’s to figure out what’s going on underneath the individual points of interest.

Second, it’s a category error. These things aren’t genre boundaries; they’re aesthetic effects. You can use them in any type of game. RPGs, for example, are most often overwrought power fantasies glued together with piles of text, but even here there’s nothing really complicated about inserting these types of effects. Final Fantasy II opens with you getting your ass kicked by a bunch of imperial soldiers who are a billion times stronger than you. After that, your first mission is to infiltrate an occupied town in order to make contact with an informant. The same imperial soldiers are patrolling the town, and encountering any of them is basically instant death. This both portrays the nature of the situation you’re in through properties of the environment and establishes your characters as being radically underpowered compared to their adversaries. Mother 3 has a chapter where you play as an enslaved monkey (literally; that’s not a joke or anything), who is similarly extremely weak compared to the enemies in the area. When you get into a battle, you have to rely on your slaver to do most of the work for you, which deepens the relationship dynamic that defines this part of the game. Also, the first town in the game starts out as an anarchist utopia. The thing that would normally be an item shop is actually just a communal storehouse where you can take whatever you need. Later, the town becomes commercialized, and the same building becomes an actual store where you have to pay for things with currency. This portrays the development of the town’s social situation through the state of the game environment. Of course, none of these are exactly the same thing as what’s being talked about in the article, but, like, no shit. Nothing’s exactly the same thing as anything. Again, the whole point of analysis is to draw connections between things which aren’t identical but which have similarities that can provide aid in understanding them. Categorizing everything into a precise set of neat little boxes might make you feel smart, but it doesn’t actually do anything for anyone.

Third, it’s irrelevant. What actually changes depending on whether the answer to the question “is this a new genre” is “yes” or “no”? Nothing. The games themselves stay the same regardless of how you categorize them. Identifying what the game is doing is useful for understanding it, but what you’ve done that, slapping a label onto an arbitrary collection of “similar” games doesn’t get you anything new. You’ve already explained the part that matters.

Fourth, it’s a misunderstanding of what the concept of “genre” actually is. Genre is not a property of a work; it’s an organizational category, and you can organize things however you want. Super Metroid, for example, is a shooter, and it’s also a platformer, and it’s an open-world exploration game, and it has an upgrade system, and it uses non-explicit storytelling (expect for the intro text). All of these things are properties of the game, but none of them, individually or in combination, require you to affix any particular label to it. Depending on what you’re talking about, you can refer to any or all of these effects. In fact, what actually happened, historically, is that a rough approximation of this particular combination of traits ended up acquiring the label “Metroidvania,” which, in addition to being the absolute stupidest name anyone has ever come up with for anything, just goes to show that genre categorization is completely arbitrary and you can make up a new one basically whenever you want. So, actually, the article isn’t “wrong” in the usual sense, but rather simply useless. You’re always free to pick any three similar-ish games and call them a genre, which is exactly why doing that doesn’t do anything. But the fact that genre don’t real doesn’t mean that it has no utility as a critical concept. There’s no point in using individual effects to establish a genre, but you can use genre to understand what a game is doing through it’s individual effects. People understand the type of thing that a platformer or a fighting game or a rhythm game is, they know what you’re talking about as soon as you bring up the term, so these understandings can provide starting points that ground further analysis. This is why trying to establish a “new genre” is pointless: genre is only useful to the extent that people already understand it. Of course, new genre concepts do have to be established and named at some point, but this happens as a reflection of widespread understanding. “Metroidvania” become a known term once people started to gain an intuitive understanding of what type of game that was; indeed, the term itself reflects the fact that two seemingly dissimilar games “felt” the same to a lot of people. But for games that are obviously the same type of thing in the first place, there’s no point in pointing that out. You’re not telling anyone anything they don’t already know.

Fifth, the assumption that these traits are necessarily good things is unjustified. The author equivocates between the argument that this particular set of effects constitutes a genre and the argument that they’re a good thing, and in doing so avoids actually making the second argument, which is the one that matters. While video games do have a violence problem, it doesn’t follow that any game where you don’t kill things is solving that problem. The violence problem is deeper than just “killing things is bad”; it’s a problem because, to the extent that games are about interacting with an environment, violence-based interaction is a) necessarily adversarial: the environment can only hurt you, and you can’t interact with it productively, and b) reductively physical: the environment consists only of objects to be manipulated or destroyed, and contains no subjects to engage. A game where you can’t fight but you have to run through an area avoiding obstacles maintains both of these problems. The world is still just an enemy and not a place that you can actually exist in. Furthermore, setpiece-based storytelling also has the same problem: it portrays the world as just an object. Of course, this doesn’t mean these techniques are necessarily bad, either. Physical and adversarial actions are parts of the real world, and they’re worth portraying. Even explicit violence isn’t necessarily bad; you can make a game with violent acts that are actually meaningful. The real problem, rather, is the assumption that games have to do one type of thing: that you have to have combat, because otherwise it’s “not a game” – or that you have to have explicit non-violence, because otherwise it’s “not art.” The truth is that getting good requires being able to do different things as appropriate. In the previously mentioned Mother 3 example, you see the town transform as it becomes commercialized, but you can also talk to the residents in order to hear how they’re dealing with it and how they feel about it. Using both types of effects allows the game to communicate the situation more effectively. Picking out any individual effect, even something like non-violence that seems inherently laudable, and labeling it as a “good thing” is a reductive method of analysis that retards artistic development.

Sixth, the whole thing is a transparent ploy to smuggle in an unexamined assumption about what games are “supposed” to be like. Genre categorization is not an evaluation of quality, but the author is using genre as a means to argue that the games in question are good. Something being a platformer doesn’t make it a good or bad thing. Even if you really like platformers, there exist both good and bad games that meet the genre criteria. So you can establish a new genre, if you really want to, but you can’t establish a “good genre,” because there’s no such thing. Historically, though, there’s been a rather strong tendency in game criticism to assume that the “correct” way to do games is to put everything “in the gameplay.” (Anytime you see a derivative of the word “ludic” you’re almost certainly walking into this minefield.) This viewpoint is no more justified than the idea that movies should be strictly focused on cinematography or that lyrics aren’t a valid component of songwriting. In terms of storytelling, there are a lot of people operating under that assumption that the goal is to make storytelling in games as “interactive” as possible. There’s nothing wrong with doing work in this area, but when you assume that this is the only thing that can be done, you basically box yourself into a corner. The usual way the complaint is phrased is that a cutscene or anything else that the player doesn’t “choose” is “non-interactive” and therefore “takes you out of the action” because it’s not “gameplay.” This is an unquestioned assumption that being “in the action” is always a good thing. Actually, it’s not even an accurate description; walking through a setpiece is not being “in the action,” it’s just an unclear cutscene where you have to hold right while you’re watching it. Selecting an option from a menu in order to trigger one of two endings is also not meaningfully interactive; it’s just lazy writing. And that’s exactly how you can tell that there’s no real line here: you can have empty interaction, where the player is pressing a button but is not actually engaged in what they’re doing in a meaningful way, or you can have something nominally non-interactive like a cutscene where the player is actually paying attention and thinking about what’s going on. What makes one choice better than another isn’t how it’s coded or how you can categorize it or what it “counts as,” but what it does. So if you insist that games are only one narrow type of thing, you will end up with games that barely do anything. One of the examples in the article is a game that portrays a Soviet-style dystopia using things like staged propaganda shots. The author is really impressed by this for some reason, even though it’s basically the least impressive thing possible. The Decaying Soviet Dystopia is a cliche; as soon as I say that you already know exactly what I’m talking about. The thing about portraying cliches is that it’s easy; you barely have to do anything other than invoking the name (that’s pretty much the definition of a cliche). So the fact that a game uses a certain technique to do literally the easiest possible thing is actually an indication that that technique is nearly useless, and the fact that this appears impressive to someone is an indication that what’s actually going on here is fetishization.

Seventh, this is all really beside the point, because this is ultimately just another by-the-numbers entry is the musty old “art” debate that yet clings to game criticism like a damp fog. The post is tagged “games as art,” which doesn’t seem to make any sense. How is categorization at all relevant to artistic merit? There are a billion different types of nails, but categorizing a new “subgenre” of nail doesn’t make nails art. Recall, though, what’s actually going on here: we’re talking about a particular set of effects that are assumed to be good things and are furthermore considered the things that games are supposed to be like, and this is what’s being called “art.” So the implicit claim here is that if you do games “right,” so that they’re “interactive” enough, then they’ll be “good enough” to “count” as art. The concept of art is being used as a standard of quality. Hence, the focus is on taking the unique aspect of games – interactivity (although not really, we’ll talk about this later) – and making it as “good” as possible, so that it reaches the level of qualifying as art. But this whole conceptualization is completely erroneous, as evidenced simply by the fact that there exists bad art. Indeed, that is exactly the situation that games are really in right now: the fact that most games are thoughtless kill-em-ups or obtuse number-crunchers or, yes, pretentious pseudo-interactive badly-written short stories doesn’t mean that they aren’t expressing things. It means they’re expressing things badly. Games are bad art, and arguing the “art” part only serves to emphasize the “bad” part. And of course there’s no point in arguing it in the first place, because you can’t convince people that games are giving them significant experiences. They’re either feeling it or they’re not. In fact, that’s the silver lining here: the reason people are talking about these things is that they feel intuitively that games are capable of real expression. The insistence that “games are art” is how people convince themselves that what’s they’re feeling is real and valid. But the need to use that label is born out of defensiveness, and it doesn’t actually help to make anything any better. That’s why the only way to do this is the other way around: to make games that are good enough that nobody feels the need to discuss them “as though” they were art. That is: assume games are art. So what? There’s no point in answering the first question is you can’t answer the second one. There probably was a time when it needed to be pointed out that, yes, games are a form of art, but just pointing that out is all that really needs to be done, because if you can’t move forward from there in order to start making claims that actually matter, there was no point in making that point in the first place. What we need right now is more matter with less art.

Eighth, give me a fucking break. This is what passes for criticism these days?

Against facts

The acquittal of the officer who murdered Philando Castile is as unsurprising as it is unbelievable. It’s exactly the same grotesque spectacle that we’ve seen played out so many times before – but it wasn’t supposed to be. This time was supposed to be different.

Castile was pulled over for a routine traffic stop; he allegedly “fit a profile” or something, like, we all know what was really going on there, but the point is that the officer was just going through the usual checks and had no reason to expect an altercation. Castile was compliant, but he knew he had a problem: he was carrying a legal firearm, and he knew that if the officer saw it unexpectedly and got nervous, things could easily become unmanageable. So he did literally the only thing he could: he disclosed the existence of the weapon and proceeded carefully. And then he was shot to death.

In every previous case of this nature that has attracted mass-media attention, there has been some kind of controversial factor for people to argue about. Eric Garner and Alton Sterling were engaged in illegal activity; Trayvon Martin and Michael Brown allegedly assaulted their killers; Tamir Rice was supposedly brandishing a toy gun. None of these provide actual good angles – at the very least, they all require you to argue that minor transgressions are deserving of an instantly-applied death penalty without trial – but they’re all technically something. It’s broadly conceivable that a person of honorable intentions could make the good-faith argument that these were individual tragedies and not indicative of a widespread social calamity. But when you make an argument of the form, “if the victim engaged in certain behavior, then the killing was justified, so there’s no real political problem,” you are implicitly conceding that, had the victim not engaged in the proscribed behavior, then there is a real political problem.

That’s why the Castile case was supposed to be different. Castile committed no crime and did everything right, so there is simply nothing available on the “if” side to lead to the “then.” In which case the battle lines should have been drawn differently. The “all lives matter” crowd should have had no problem taking Castile on as a martyr and rallying for reforms to prevent such unacceptable occurrences. This should have been the thing that overcame the perils of “race relations” and provided an example that everyone could agree on. But of course there was no such reconciliation. The sickening thing about this case in particular was that nothing mattered; everything remained as it was and the same vile story was recited yet again, and yet again faded away with no conclusion in sight. The unavoidable inference, then, is that the facts of the case simply do not matter. Everyone has already decided what they believe, what policies they support and what catastrophes they are willing to countenance, and nothing is going to change that. And of course one must be honest enough to apply the same standard to one’s own side: had definitive evidence emerged that Michael Brown really did rob a convenience store and then bum rush a cop, that wouldn’t have changed the substance of the critique or the need for political action. In no case, then, are the facts of the situation ever relevant. There is only ideology.

There has been a great deal of recent lamentation over “fake news” and “alternative facts,” and one must concede that this is largely justified. Politicians certainly are a craven pack of liars, and people in general really do have problems getting their heads around the fact that facts are facts. But if we’re talking about politics, what we ought to be talking about is the connection between facts and political action, which is whence arises the problem: there isn’t one. Getting the facts right doesn’t help, because facts don’t matter either way to people’s political opinions. This sounds terrifying, but it actually makes perfect sense. Politics is about how we want the world to be, not how it currently is. Deciding on a political opinion means deciding in which direction you want to move. The value of facts is that they tell you how to get to what you want; they tell you where you are in relation to your goal. It’s entirely possible, perhaps even easier than not, to design counterproductive policy, in which case your actions will end up moving you in the opposite of your desired direction. Adherence to facts is how you avoid this problem. But this only becomes relevant after you’ve decided what it is you want.

The situation is often portrayed as a matter of novel facts spurring people to action. That is, everyone already believes in peace, love, and understanding, but they don’t know about the many injustices regularly taking place, so they simply need to be informed that things are going wrong in order to start doing something about it. This is wishful thinking. What the facts clearly demonstrate is that the revelation of facts doesn’t change people’s political opinions. At the end of the recent O.J. Simpson docudrama, there’s a moment when Johnnie Cochran sees then-president Clinton on TV talking about the need to address systemic racism and revise police practices, and he’s terribly gratified that the truth has finally come to light and that something can now be done about it. What’s striking about this is that people said exactly the same thing when the same issue recently started to be documented guerilla-style via smartphones and social media: now that the truth is unavoidable, things have to change. But what we’ve seen is that in neither case was this actually the case. Obviously, Rodney King and Mark Furman didn’t precipitate a solution to the problem, or we wouldn’t still be talking about it. But the current situation, where far more facts about far more dramatic occurrences are available on a daily basis, has seen no greater effect. All those cases listed above, plus others that have received equal attention and many more that have been forgotten or lost to the news cycle, were not the result of a single spate of increased attention. The issue has been risen on a regular basis over the course of many years, and the situation has never changed.

This is why the current fetish for “fact-checking” is largely misguided. It is not due to factual ignorance that people form harmful opinions. It’s much closer to being the other way around: people come to believe ridiculous things when those things align with their pre-existing ideology. Adherence to the facts can’t change this, because you have to use ideology in order to understand facts in the first place. A big table of numbers doesn’t do anything for you until you analyze it with political intent. In fact, “fact-checking” itself is a result of the same dynamic. Sociologically speaking, it’s pretty clear that the actual function fact-checking performs is liberal escapism. The people who check fact-checks are not those who require the information, but those who wish to reassure themselves that they are the good people for believing what they already believe. Liberals have already decided – in advance of the facts – that they’re the “rational” ones who “believe in science,” and the act of fact-checking allows them to perpetuate this belief.

More specifically, fact-checking as political activity is the result of a category error. It is indeed the news media’s job to report the facts and correct lies, and policymakers’ job to account for the real facts rather than the facts they wish were true. But the vast majority of us are not engaged in the activities of either journalism or policy-making, whereas all of us are permanently engaged in the activity of advancing values. Indeed, it is often our moral responsibility to ignore facts in favor of the truth. This is necessary because the world is a complicated place. It really is true that there are laws on the books prohibiting discrimination, and that there are scholarships and other programs aimed primarily at aiding black people, and that claims of disadvantage generally get sympathetic hearings in the media, and that Barack Obama was elected president twice – by healthy margins, even. But none of these facts compel the conclusion that we shouldn’t care about racism anymore.

You can dig up a real fact from somewhere or other to support basically anything. For example, false rape accusations really do happen sometimes. There’s no point in arguing whether any one case is valid or not; to fall into the trap of arguing the facts here is to fail to press the issue. The question of whether to treat rape as normal and false accusations as anomalies, or the other way around, is only answerable by ideology. You can’t engage with the issue until you’ve made that choice. (Equivocating doesn’t count as engaging with the issue; it counts as ignoring it.) And you can’t let the numbers make that decision for you, either, because you have to decide what the numbers mean. It’s true that there are more rapes than false accusations, but it’s also true that, even on the highest estimates, the vast majority of women never experience rape. The vast majority of black people never get murdered by the police, either. The numbers themselves don’t tell you what matters. Rape doesn’t become an issue once the number of occurrences rises above a certain threshold. It becomes an issue once you start caring about it.

A strong potential counterexample here is global warming. This seems to break the script: it’s genuinely novel information that could not have been reasonably foreseen, and it requires us to change our behavior and beliefs in ways that would not have been necessary without it. As Naomi Klein has it, it “changes everything.” So what’s crucial to note is the fact that the people who do “accept the facts” on global warming – who, in fact, loudly and self-importantly trumpet their fealty to the scientific consensus, as though that were something to be proud of – are doing basically nothing about it. Funding renewable energy and tweaking regulations do not come even close to addressing the true scale of the problem. The reason actions such as these are the ones being taken is that they are the ones that fit within the existing liberal-capitalist framework that basically every world leader adheres to unquestioningly. And on the other side of the ledger, liberals never seem to consider the fact that there are reasons that people resist facts. If someone encounters a fact once and ignores it, it’s pretty irrational to imagine that “explaining” the same thing to them over and over again will have any additional effect. Rather, the relevant logic is quite simple: if you believe that capitalism is a moral system, then it cannot be the case that capitalism is going to destroy the planet. It must simply be a case of certain groups gunning for competitive advantage, because that’s what happens under capitalism, and capitalism explains everything. And of course you wouldn’t be able to solve the problem with government intervention in any case, because government intervention always produces results inferior to the “natural” actions of market forces. Ideology determines both which facts are acceptable and which actions are possible.

Furthermore, you don’t actually need the facts of global warming to make the right argument here. The problem follows directly from the general logic of capitalism. Economics has a concept called “externalities,” which refers to the effects of a trade that aren’t accounted for within the trade itself.1 A better way to understand this is that capitalism basically means that rich fucks set the agenda, and they aren’t going to account for anything that doesn’t affect their pocketbooks. Other people getting polluted or regions of the planet becoming uninhabitable are just going to end up being the cost of doing business. So if you already oppose this arrangement ideologically – if you believe that resource use should be governed democratically such that the resulting decisions take into account their effects on everyone involved – then you’ve already solved global warming. Conversely, if you believe that rich fucks should be allowed to allocate resources autocratically, but that the government should be empowered to mitigate the consquences of those decisions, then you will never be able to solve global warming, no matter how cleverly you design policy or how tightly you cling the facts to your chest, because you have already made the values-based decision to give the fox VIP access to the henhouse.

In short, facts are real, but that’s all they are. By themselves, they’re inert. If you want to apply force to something, you can’t just gather up a bunch of chemicals and expect them to leap up out of the beakers of their own accord. You also won’t know which chemicals you need until you’ve drawn up your plans. And even then, nothing will happen until you actually build the bomb.

 


  1. A professor of mine once quipped that his introductory Econ textbook had five pages devoted to externalities and five hundred devoted to the rest of economic theory, and that it should have been the other way around, since what “externalities” actually means here is literally everything in the world other than basic economic theory.