Recently a post has been doing the rounds about military propaganda in the latest COD, yea yeah, sky’s blue, fork in kitchen, et al et al. This got me thinking about the shooters I actually play, and one thing that strikes me about the multiplayer shooters I play is that a lot of them dodge that same major discourse bullet by expressly grounding themselves in amorality and Kafka-esque dysfunction- a structural fingerwag towards their own content, acting as a paradoxical green-light to enjoy the game with no sense of moral injury. And there’s a big example of one that didn’t do this that kinda winds up with egg on its face as a result.
To start with, I’m thinking about Team Fortress 2. The original Team Fortress, inasmuch as it’s possible for a game where you shoot each other with real firearms to be apolitical, was fairly apolitical. The soldiers had no markers of identity beyond their arbitrary team affiliation; the fighting was over no discernable real-life resource or point of political tension; the environments were decontextualized labs and facilities. It was platonic violence.
Team Fortress 2 rolls around. Now that the general novelty of a 3d multiplayer class shooter has eroded, development stalls out on the following aesthetic problem; you can’t have semi-realistic militaristic character models rocket-jumping themselves across the map in the early 2000s. The cartoonishness is too dissonant when you’ve got similar semi-realistic militaristic characters in much more “grounded” games. Eventually they resolve this by taking the other tack, leaning into the cartoonishness, crafting character models so completely bombastic and over the top that no action taken in gameplay, no matter how absurd, will ever feel dissonant. This philosophy extends into the map design; the environments are farcical. Military instillations built mere yards from each other, with paper-thin pretenses of being civilian facilities despite the constant gun battles occurring inside. It’s self parody. And when the game extends to the point of having lore and worldbuilding, the idiocy becomes diegetic. This is a conflict fought on the behalf of idiots, by idiots, over idiot-goals, in spaces designed by idiots. It’s completely amoral, but it’s also contained amorality, since the fighting doesn’t spill out of these Helleresque Designated Pointless Fight Zones- and that leaves the mercs sympathetic enough that you can play them as protagonists in stories that take place “off-the-clock” without a ton of tonal dissonance. I can’t stress enough that the TF2 protagonists are amoral PMCs who work for callous megacorps. In a vacuum, this is not a well-regarded Kind Of Guy around here. There is some implementation of this broad concept that would invite a shitload of discourse that I’ve never seen materialize!
A lot of hero-or-character-based multiplayer games do this, abandoning any pretense of player heroism or productivity in the conceit in a way that shields them from a lot of moral and logical criticisms. Apex Legends and Monday Night Combat are explicitly in-universe bloodsports. Atlas Reactor and Rogue Company are cyberpunk corp-on-corp warfare. Dirty Bomb is about loosely affiliated mercenaries picking over the remains of an evacuated city. I think that Valorant is PMCs in a resource war (Not completely sure on this one.) The never-released Battlecry was expressly tied to actual nation-states, an alternate history where great powers fight wars via singularly-powerful champions instead of via traditional warfare. And in Battleborn the PCs were a hastily-assembled coalition of smaller hastily-assembled coalitions, which means that it makes perfect sense that any combination of these people might be fighting alongside or against each other, at any given time.
Here we see commonalities. Amoral participants. Larger governing bodies delineating clear fight zones centered on specific, if deliberately silly or petty, goals. Most crucially, PCs that are very loosely affiliated with each other, such that you’d see them in different configurations, fight to fight, day to day, as they’re contracted or shuffled around by the powers that be.
You know a game that doesn’t do any of this? Overwatch.
Overwatch gets 80% of the way to being a superhero universe; it falls short primarily because Blizzard chose not to explicitly market it as such, but it’s got everything short of the purposeful brand designation- powered heroes, super science, codenames, Faceless Hydraesque terrorist groups with shadowy, powered enforcers. There are specific allegiances implied by this; specific policy and interpersonal goals implied by this that aren’t really reflected in six-on-six grudge matches in a smattering of inexplicably depopulated civilian environments. There are roughly half-a-dozen villains associated with Talon, four or five independent villainous mercenaries, and everyone else is a would-be superhero. Why is most of the core roster of the world’s premier superhero team performing some kind of terror attack in London? Why is a woman who murdered a civil rights leader trying to stop them, with the help of two avowed anti-Omnic mercenaries and three Omnics? Why did a cryogenics researcher weaponize her tech and come along for the ride? Why are a dozen envoys from tech conglomerates, grassroots movements, and paramilitary defense forces throwing down over a Gazebo in a charming Greek resort? Fuck if I know. Fuck if the writers know!
So, to round it out, I think that there’s a structural difficulty for multiplayer shooters to stand for something, or advance a philosophy, or whatever. The smart ones embrace this by shielding themselves in ablative nihilism, preemptively deflecting criticism by painting the gameplay as hollow and barbaric, but fun! But Overwatch- Overwatch 2′s tagline is “Get back in the fight.” What Fight? Why? Against Who? Call Of Duty might be a horrific mouthpiece for militarism and imperialism, but when it valorizes the military, it’s at least picking a side! Overwatch is just so strange to me because it’s somehow got the worst of both worlds- it uses these heroic, aspirational language and visuals to hype up a gameplay loop that’s ultimately the exact same kind of cynical, aimless abattoir as the games that are smart enough to explicitly be about amoral paid killers!
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something that i really like about blue eye samurai, now that im thinking about it, is that it discusses violence against women without becoming torture porn. like, in a lot of media that portrays women's issues, they show you that scene. like they give you this extended visual of a woman experiencing something traumatic and then laud themselves as feminist for doing so.
blue eye samurai doesn't do that. the whole show is set in a world that is extremely antagonistic toward women, and it makes a point to tell you that being a woman right now sucks, because they are property and are used sexually. but even though it doesn't shy away from this, it doesn't show you the violence itself, which you would almost expect it to because of how graphic the rest of the show is.
im thinking specifically of kinuyo. they very well could have shown us a scene of her being abused, but they didn't. they didn't show the abuse itself, but they did show how it affected her. they showed her seeing a doctor for her sores. they could have made this incredibly traumatic and grotesque scene a spectacle, showing us exactly how powerless she is and how powerful he is. they could have shown us this incredibly triggering event in full detail for our entertainment, but they didn't. they chose not to. and i think that's how it should be.
it is not necessary to have an extended visual and auditory reenactment of violence against women. we the audience understood the gravity of the situation and were able to empathize without needing that scene. having that scene would have completely detracted from the point they are trying to make. it would have turned something completely reprehensible that women everywhere fear because it's a very real issue into entertainment.
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you motherfuckers have no concept of what "land back" or "decolonize" even mean. you're too busy demonizing entire groups of people, terrified, shitting yourselves, that they'll do even half of the horrors to you that you've done to them for decades or centuries. this shit comes off as hella racist for real. you hate arabs so much. you hate first nations people so much. you hate black people so much. even if you sympathize with them, you can't fucking bear the idea of them gaining freedom, independence, autonomy, safety, because you're so, so scared they'll hurt you back and cause chaos in the streets. these same people who just want to rebuild. who just want to go home. who just want to see their families again. who just want food. who just want medical care. who just want dry, warm shelter. you're so focused on the ideas of colonization, of "us vs. them", of one people displacing the other for a state to exist, that you cannot comprehend coexistence, and your only idea of peace is if an entire group of people were just gone and dead.
grow the fuck up. for the love of GOD, grow the fuck up.
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Hey do you think Michael Shelley being named after the woman who wrote about the monster rejected by its own creator has anything to do with The Distortion's creation and how Gertrude didnt even stick around to check if he was alive before leaving?
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