Comment: „To me, the by far most embarrassing aspect of any (re)presentation of the game up to this video was actually its gameplay demonstration: gameplay-wise, „The Last of Us, Part II“ just seems to be more of the same violent bullsh** the first game provided. With an older Ellie just taking on the role of Joel. According to Ms. Sarkeesian, actually a great example for a Ms. Male Character „trope“. And no: then, their identities are not so unique anymore. I even spotted some very resembling animations.
Say what you want about „Tomb Raider“ (2013), but its gameplay was at least coherent.
Its lackluster narration was accompanied by exceptionally strong, intuitive mechanics. Leaving much of the previous „Tomb Raider“ gameplay behind.
And „The Last of Us“? „The Last of Us“ relied heavily on its poetic implications, contrasted by its violent gameplay. This game too, despite all of its flaws, was dissonance that worked: here we saw ambivalence at work, the identities of its characters were already settled and didn’t change much throughout the game. Therefore its world-building worked too: the fiction worked. The first part was not anti-fiction, and contrast is no contradiction.
But „Part II“? According to all of what we know up to this point, not only male characters are not important anymore, the whole dystopian „value“ isn’t it. Instead, it’s trapped in its identity politics gate – not unlike „Star Wars“ recently: and just like with George Lucas‘ artificial myth, much political agenda – any political agenda – will certainly destroy imaginations.
There are a lot of people working in the film/movie, games and television industries today, that are hard at work disrupting popular culture and fiction itself: yet if the 20th century and popular culture’s success since the days of „Flash Gordon“ proved one thing, than that people who are interested in popular myths are not necessarily interested in realism, reality or real-life at all.
Yet very few people nowadays are actually tackling this stance against cliché and fantasies, deeply rooted in high-brow culture: Amy Hennig is such a person, and is of course not working at Naughty Dog anymore. Like so many others.
David Cage is another irreformable one. Some Eastern European studios like CD Projekt Red and 4A Games. Or Yoko Taro and Hideo Kojima, two other ones from a whole different culture, where the agenda is still only recognized when they want to sell a lot of units in the west (like now with „Dead or Alive 6“, for example).
New guys are hardly seen. Maybe Daniel Vávra. In the age of Trump and Trudeau, there are certainly no new North Americans who will have any chance in these industries and think different.
The liberal obsession with representation will certainly destroy many franchises. No, it won’t be „good“ for business in the long term, and its morals certainly are not „good“ ethically. It’s not inclusive or diversifying at all, instead it makes everything look and feel the same.
To overlook a lack of new ideas in anyone’s gameplay for fancy graphics or new gender and romantic representation is the stuff hypocrites dream of: a game that would once be condemned for its „violence“, is now praised as inclusive. Getting rid of any unwanted and supposed-to-be unhealthy sexuality, infusing it instead with „positive emotions“ like „love“. Without a doubt. Between the everyday killing, of course: a form of bigotry really seldom seen in human kind’s history, but so common in this day and age.
So, the content Hollywood, Netflix and games deliver will become more irrelevant every year. All three media will only provide mere social phenomena – like games with „Minecraft“, „Pokémon Go“ or „Fortnite“ already did. We’ll have to look at the past, not only for nostalgia but actual content that mattered. Like we look today at „Sonic“ or „Monkey Island“.
To say the least, it’s disrespectful to the men AND WOMEN Who fought in WW2, when „Battlefield V“’s multiplayer let people play as black women in the disguised Nazi army, just to represent their physical personas on the screen. Supposed to be „having fun“.‘
Die „realen“ Folgen dieser affirmativen Interpretationen, welche jetzt schon (leider) zu sehen sind – O-Ton GameStar 07/2018: „Endlich zurück in den Zweiten Weltkrieg“ – sogar in fetten Lettern am Cover. Einfach abscheulich und völlig verantwortungslos.