“You’re in my dream. I designed every part of this place. Not a theme park, but an entire world”
So, let’s talk about Westworld. There’s only two episodes left of season one, and a quick Google search will tell you more than you need to know about the number of loose ends and untied threads that are keeping viewers interested. It’s become one of those shows that thrives off of the mystery, and explicitly fuels the collective investigatory powers of the internet with their sights set on decoding the mysteries that it continues to offer, while it seems to be hiding many of its secrets in plain sight—for those quick enough to catch them and post them to Reddit.
What I want to talk about is one thing in particular that Westworld seems to be hiding in plain sight: that the show appears to be exposing the ways in which, until now, “the West” was written under a very specific kind of control, and about and for particular characters.
Video game promotion is one of the things that most interests me: how what a game could or should be is communicated to those who are even vaguely interested before the game even hits shelves. There’s lots of different things that usually get mentioned— its story, how the game pushes the medium forward…basically, what’s new. But sometimes game promotion heavily relies on telling people what’s old; more specifically, what’s historical.
And if there’s two things that Mafia III has promoted more heavily than anything else it’s the game’s unique narrative perspective (contained in its supposedly next generation open-world), and its attention to historical detail and authenticity.
I go to the cinema as often as I can but of late I rarely get interested or excited enough about a film to remember what I’ve seen a few days later, let alone want to blog about it (Case in point: Saw Woody Allen’s Cafe Society on Wednesday, was charmed enough at the time, but had forgotten about it by this weekend).
It’s something of an exception then to see a film that genuinely makes me leave the cinema wanting to talk about it, let alone wanting to go home and furiously Google it. The Childhood of a Leader is one of those films.
In many ways, this is a part II to a previous blog on Fallout 4‘s Nick Valentine, and how codes and conventions of well-known, distinctly American cinematic genres—in that case the crime/noir/detective film—are often used as access points through which many video games reinterpret and represent the past. Here, I want to briefy talk about the new (and final) addition to the Fallout 4 universe, the Nuka World DLC pack, and how it similarly pays reference to the western genre (something that I’ve been looking at in my current PhD research too).
But first, I want to start with my first impressions of the DLC more, since I’ve more or less ended up entirely hating all of the others.
I was so excited for Fallout 4’s new Far Harbor DLC, with all its promise of a new, big storyline, a new case for the Valentine Detective Agency, and an entirely new environment to explore. To be honest, I was so underwhelmed with the previous DLCs that I didn’t really have anything, nor the inclination to write about them, but Far Harbor did seem to offer what I wanted from new content. The trailer looked particularly great, and I love anything that involves Nick Valentine, so I faithfully downloaded it on Thursday morning and set aside the day for playing.
Far Harbor’s official trailer, Bethesda.
But, my initial reactions are not entirely positive.
(Yes, there will be spoilers)
Filed under Games, Reviews
A few weeks ago I was pretty excited to see that Rockstar Games’s critically-acclaimed Canis Canem Edit (2006) (or Bully, as it’s know in the U.S.) had been remastered and rereleased on next generation consoles. I remembered playing this game a lot on Playstation 2 when it first came out ten years ago, so I had fond memories of what I recalled being a tongue-firmly-in-cheek game that took on the American school system, and was curious to see how well it held up.
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Filed under Games, Reviews
Videogames with historical (or counter-historical) settings often mimic and recreate popular media images of the ‘real world’ as the basis for their virtual environments. Of course, this is a necessity for texts which consciously try to build highly detailed, immersive and interactive virtual landscapes, depicting ‘the past’, in an effort toward facilitating ‘authentic’ player experiences.
But though a technologically advanced and unquestionably postmodern medium, many contemporary video game creators also recreate and utilise ‘old media’ materials, placing these texts and items in-game to be collected or accessed by players.
Clearly, I’m a collector (Fallout 4)