Im VDVC-Forum: ‚First, „Witch It“ is no finished product (either, compared to last year’s supposed-to-be rejection of „The Surge“).
Second, like with most film festivals, public awards are no real awards. It’s more like something „out of the competition“. And then, again, „Elex“ is a very German title – with hardly any international recognition. Unlike I argued „The Surge“ was https://vdvc.de/forum/viewtopic.php?f=79&p=18532#p18530 , at least in part.
They already did it from the start with this award -, and still do it with every one of their „international“ awards (without any prize money). Yet once, they chose „Crysis 2“ for the main event, so to speak. No, they won’t do something like that again.
They will avoid something like that. And that’s why this award is nowadays more politically charged and leaning to the liberal left than the Bundesfilmpreis (Lola) ever was, or even the Berlinale, for example. An ideological vanity fest.
Maybe it has something to do with games not being fully realized as cultural expression, but more something like innovation or sport even – like moving them into infrastructure’s space, like the „Datenautobahn“ or chasing cars.
The public space should either represent or challenge „the people“, not caressing fancy hipsters and their feel-good-games. With feel-good-media promoted like that – no great divide, no gap in the public space will be narrowed, no one will come closer. Not as the chancellor promised https://www.bundestag.de/dokumente/textarchiv/2018/kw12-de-regierungserklaerung-merkel/547656
In fact, nothing what she promised in March to tackle will come true, when Germany’s elites continue to act like that. Instead, the rise of populism throughout Europe will become an even more fierceful threat while something that’s not only in Germany called ostrich-like behaviour remains one’s method of choice. Protecting a culture of nice lofts and „Fachhochschulen“, while games will become even more irrelevant: avoiding potentially „menschenverachtende Spiele“ for the sake of neglecting society’s „Potential der Menschenverachtung“.
And the question is not who’s playing „Witch It“, but for what it stands for. Why there are no „provocative“ games winning in main categories anymore.
Third, like with „Anno 1404“ back in its day, they chose a German game as an international title – like in 2010 with Anno, the internationally (hardly) known „A. D.“ series.
All together, that’s what I call a farce these days. Like even Germany’s largest gaming publication, GameStar did back then https://www.gamestar.de/artikel/die-anno-farce-kolumne-zum-deutschen-computerspielpreis-2010,2314620.html
And last but not least fourth, Daedalic’s winning developer last year rejected the award for his traditional core title, one could argue a provocative „conservative“ approach long gone http://www.buffed.de/Shadow-Tactics-Blades-of-the-Shogun-Spiel-57371/News/entwickler-lehnen-preis-ab-1226602/ , and now they celebrate a representative hide-and-seek game (with modern-day mainstream shooter aesthetics and F2P appeal disguised in a core mechanic, similiar to Nintendo’s supposed-to-be „violence-free“ shooter „Splatoon“).
What has changed? Not much, I guess. Except for the attitude of the winning title.
All for the sake of nothing else than Zeitgeist.
Ok, „farce“ is not enough. It’s a rather short term, standing-in for pathetic.‘