Indiscriminately Valuing Non-Violent Games
May 1, 2016 Leave a comment
Starting with the 1980s arcade games Galaxian and Missile Command, games and combat became nearly synonymous. This was only exacerbated in the 90s by the advent of wildly popular shooters like Doom. The choice to focus a game around antagonism, combat, and violence was not a conscious design decision, but a necessity of the industry and environment. There were abstract games that didn’t contain violence, but in general the highest-profile games were about, in essence, murder.
Doom: you shoot things. Dead simple.
Then a renaissance occurred in academia, and suddenly games were art. Nobody really knew what to do with this fact or what it meant, but it was revolutionary, and regardless of anything else, games were definitely art. To support this, a number of innovative (perhaps iconoclastic) non-violent games — games like Journey and Gone Home — were foisted up as evidence that games are art. “Games are art, they can convey aesthetics beyond violence.” Good, great. Innovative games that are fun without using violence in their designs are awesome.
Journey is one of the seminal games in the recent wave of “artistically-valuable” indie games.
However, this easily morphed into a reactionary movement. Since these games without violence or combat were touted as being somehow better or “more elevated” than your run-of-the-mill murder simulator, it became obvious that a game that was violent was inherently less.
Obviously, this sort of indiscriminate valuing of non-violent games is a terrible idea. A game that doesn’t use violence can be poorly designed and not-fun (Dear Esther, Mountain), just like a game that uses violence and combat can provoke deeper aesthetics (Hotline Miami, This War of Mine). Part of the problem is that nobody has developed the proper critical skills to analyze these non-violent, pacifistic games. Champions of “games are art” too frequently praise the games for not using combat, rather than evaluating the game holistically and praising good design choices. On the other side, core gamers are immediately turned off by the lack of combat and write it off as boring.
Refugees have said This War of Mine accurately conveys the constant fear of living in a war-torn region.
One result of this dysfunction is the proliferation of so-called “walking simulators”. These are games whose main play involves walking around consuming either written, visual, or aural media, perhaps with light puzzle-solving mechanics (or similar accents). Many enterprising developers, whether they realize it consciously or not, have seized on the fact that making such a game guarantees some measure of success. They will be praised by academics and critics interested in furthering games as a legitimate medium, and have their game purchased by the small-but-steady audience of non-core, non-casual gamers (most of whom probably chafe at being called gamers).
Some walking simulators are great; I actually enjoyed Gone Home, in a way that I probably wouldn’t have if it had been a movie. They do a good job of immersing you in a focused, meaningful experience. Others are scattered or diluted by dissonant design decisions — like Corpse of Discovery. But nobody cares, because these games aren’t being evaluated on their merits as a game. They are either praised for being a game without combat mechanics, or they are ignored because they are a game without combat mechanics. Little else tends to go into the evaluation process.
Gone Home gives the player a meaningful experience despite being limited to looking at rooms and listening to audio.
A student game at USC, Chambara, got changed during development to be “non-violent”. The game originally saw samurai dueling in a starkly colored world. Now instead of blood, hitting an enemy produces a burst of feathers. Apparently this one tweak now qualifies it as “a transcendently beautiful and artistic entertainment game with a pacifistic outlook”. That is a direct quote from a faculty member at the school. You may see why this is troublesome to me. First of all, changing blood to feathers doesn’t change the fact that your game is about sneaking around and hitting other people with sticks before they hit you. That seems a far cry from a “pacifist outlook”. Second, this change actually hurts the game aesthetically. The blood splatters beautifully complemented the dichromatic nature of the game’s world. I consider the stark look of a blood splatter to be more artistic than a burst of feathers. Yet the game’s devs decided to make this tweak. Did they do it because it would benefit the game? No. According to the devs, “we were uncomfortable with the violence the game displayed and did not feel like it accurately reflected who we were and what we believed.” In other words, they value a game that contains bloodshed differently than a game that does not. Are they allowed to make this decision based on their personal beliefs? Absolutely. But isn’t it absurd to pretend that this tweak lends the game a “pacifist outlook”, and that it in turn allows the game to transcend to the angelic ranks of non-violent video games?
Blood splatters…
…and “feather splatters”.
I would urge critics and academics to judge pacifistic games on their merits as a game, not on their merits as a non-violent game. I would urge developers to treat the presence of combat and violence as just one among a countless sea of other design possibilities. If it aids your experience goal, you should include it and tailor it to the needs of your game as an experience. If it doesn’t don’t include it. But don’t decide to make your game non-violent or exclude combat mechanics just because it means your game will be valued as inherently better by a specific set of people.
Mind Outlet 