So, as I sit here waiting patiently to register for classes for the upcoming Summer and Fall terms, I find myself reflecting back on the game that I was playing over the Easter Holiday weekend, Ghost Recon: Wildlands (GRW). Not really the most appropriate game for such a religious holiday, but I’m about half-way through it and I really want to finish it. It is both fun and a slog. How can that be, you might ask. A game is either fun or it isn’t. Well, it is much like Mass Effect Andromeda, fun in spurts, but far too long.
Jim Sterling on the “Ubification” of Games
Now, there is a video game personality, Jim Sterling, who talks about games and game companies’ practices on a regular basis. He is something of a legend in the video game community, a pundit who is at times lauded and hated. I don’t usually watch pundits, but every now and again, Jim calls out a segment of the video game industry that video game companies would prefer you not to notice. Today, he chose to point out some of the things that Ubisoft is doing with their games, and since GRW is published by Ubisoft, I thought I’d watch. Here’s the YouTube video if you’re interested–WARNING: NSFW (Harsh Language–unfortunately, Jim Sterling is in love with the F-Bomb and Crap word).
Now, Jim noticed this trend of Ubisoft’s games looking similar to one another with the release of Far Cry 5 last week, but as a player of quite a few of Ubisoft’s catalog (The Crew, all major in-line Assassin’s Creed releases, Tom Clancy’s The Division, and now Ghost Recon: Wildlands), I’ve been noticing that loop myself for a while. Ubisoft actually has a gameplay mechanic that has been mocked and parodied in the gaming community for a while now– the unlocking of more of the game “map” by visiting some sort of “tower.”
Making it Relevant to Scholarship
One of the things that I’ve wanted to do for a while is to find a way to make what ever I’m currently playing relevant to scholarship. While games, game theory, and video gaming is being studied in academia, it is still a very niche idea with too many scholars not understanding that many of the talented individuals who would be writing literature (books) or crafting cinema (movies) are actually working in the gaming arena. What some scholars dismiss as mere “fluff” or have the idea that games that are not relevant to the greater society of the whole are missing a whole wider world in which subculture, especially gaming culture, is influencing and being influenced by the culture of gaming (don’t believe me–trace the backlash against Anita Sarkeesian and the GamerGate controversy with the backlash against Leslie Jones and the Ghostbusters (2016)–they are quite similar in reaction/rationale all happening “approximately” the same time). My hope is that I can somehow use GRW to talk about video games in scholastic context. I’m still formulating how I want to approach it (perhaps talking about Open World games in general). We’ll see, but video game rhetoric is still such a new topic that the field is still fairly wide open as to what I can analyze, so there are many opportunities for scholarship from this one game. I just need to figure out how to approach it.
Well, that’s it for now. Have a great day!
- Read Skin Deep (Sci-Fi) for Free at Aurora Wolf
- Read Childe Roland (Fantasy) for Free at Electric Spec
- Read Faerie Knight (Fantasy) in the anthology Fae, Rhonda Parrish, Ed. or the Kindle Edition
- Read Ship of Shadows (Sci-Fi) in the anthology Visions IV: Space Between Stars, Carrol Fix, Ed. or the Kindle Edition.
- Read WarLight (Sci-Fi) in the anthology Visions VI: Galaxies, Carrol Fix, Ed. or the Kindle Edition.
- Read Dragonhawk (Fantasy) in the magazine Tales of the Talisman, Vol. 8, Iss. 3, David Lee Summers, Ed. or the Kindle Edition