Recently, I finally had the opportunity to play the Sucker Punch Samurai epic “Ghost of Tsushima”, and the story of Mongolia’s invasion of Japan made me think about how the game treats revenge. At the heart of it is that waging war is a form of revenge in return for the injustices committed by you. Thinking that there is an honorable way to fight war by challenging the concept of Bushido, Ghost of Tsushima basically asserts that in order to get along with someone, he sometimes has to fight dirty. This is essentially much closer to our actual idea of revenge. .. Revenge is when the gloves come off. Paradoxically, the game takes a lot of effort to show that the protagonist Jin isn’t happy to use the sneaky and unruly method, but they’re all very easy to play. I feel that.
Revenge is a popular tool in the game. Because many of them rely on combat as their main mechanism. Many ways in which combat is integrated can feel slightly separated from what’s happening-the JRPG where the flora and fauna that are out for your skin is an unexplained fact in the world. Think about it. Revenge-motivated violence is far more goal-oriented and we can feel right. Players who equate with the protagonist, after all, want to see their goals achieved. In his book Into the Woods-How Stories Work and Why, John York explains that each story needs an exciting moment. Revenge is an example of such a moment. Characters live happily until they are sacrificed. Being fraudulent, they tried to fix it by showing new enemies what they were.
Revenge gives us clear motives, adversaries, and justification for violence in the case of games, and it works surprisingly well, primarily because we humans can empathize with our thirst for revenge. We don’t dream of bringing an ax to someone, but do you dream of returning to someone somehow? In the game, revenge is always portrayed as the process of solidifying a previously happy and happy person, both physically and mentally. It’s often also a process coded by a man-the male protagonist lost the elements of his life that softened him and connected him to normal social life like a family or spouse. Examples are Max Payne and The Darkness, or Red Dead Redemption. Breaking the bond of loyalty between brothers, such as Mafia 3, Red Dead Redemption 2, and Modern Warfare 2 and 3, is also a common motive.
Of course, there are also revenge stories featuring women. Consider JackinMass Effect 2. That arcade is a good example of what we usually want revenge to bring to us. Helping Jack, she finally finds the closure and goes with her. Life to help others. But in reality, it’s not how it actually works. Studies have shown that the more time you spend planning for revenge and the more time you spend following, the worse you feel when you get what you want. -Both because you’re sticking to a negative being, for a long time in your life, and also because it can be difficult to lose that easily identifiable enemy.
This is what The Last of Us 2 is trying to explain. Very effective in showing that revenge is a circle-they get their revenge, Abbey, then watch behind them, as their actions forced them to make enemies from Erie. Must be. Unfortunately, it takes a lot of violence for either to know that revenge is ultimately unsatisfactory, and the player who commits that violence says that this should be a satisfying process. You may be weirdly dissatisfied with it, as it has been said many times by. Moreover, to me, at least the feeling of violence itself wasn’t as scary as Naughty Dog intended. Still, I still felt that the act of ending the showdown was much harder to win because of the gritty way the battle was presented, so it probably felt even better than the other games.
A simple solution could be to let go of the fight altogether, and many games have already done so. But now I think the problem is even more serious. We have become accustomed to combat. Often we want combat, but it’s ultimately a mechanically satisfying way of presenting combat as a fantasy of revenge, which isn’t good for us-it’s someone to us Makes someone think they need to be right, they have to win.
So the games I really appreciate are those who try to consider that feeling in a way that doesn’t punish the player for engaging in the only action the player has. The best game I’ve played for that should be the 2018 God of War. This fully explains the dilemma of the vicious circle of revenge. Your actions here are certainly malicious, but we realize that even those who act in defense are not right-there is no winner, and the god of war gives this to the characters on both sides of the equation. Shows mourning and apologizing for those left behind. It shows that a hard warrior is not just a cool metaphor, but a terribly flawed, sad being. In Last of Us 2, Erie wants to win. By comparison, Kratos really just wants to be left alone.
Another great example of this measured approach to revenge is Four Quarters’ recent indie smash hit loop hero. The Loop Hero gameplay was created before the story began. As the game wasn’t primarily about combat, so shouldn’t the story, as composer, sound, and game designer Vinci, also known as Aleksandr Goreslavets, say. “Given that the game revolves around getting in the way of the main character, it wasn’t natural for us to create a story of revenge on a monster.
“Second, the player just wants to restore the land and deal with the side effects when the hero remembers the world. Therefore, the main character’s goal is not to kill villains and monsters, but to peace. I quickly realized that it was to recover. “
You are trying to recreate the world as it is. Basically what you are doing is not about them while the three bosses are trying to stop you-your hero must accept monsters as part of the ecosystem.
A common way to break the revenge cycle in the game is to look at it like a villain. Take Persona 5 Striker-Joker and his group of friends are only involved in the quest for revenge for others, as revenge tends to involve innocent people like war. Your job here is to become a third party who has no stake in the issue of being able to show the monarchy an error in their way of doing things. Usually, you make a noise and then have a long chat. This is optional, but it doesn’t have the subtle nuances of actually involving the character in question like God of War.
These examples show that the story of revenge in the game can get past the black and white of heroes fighting villains, but many of them think that we need to feel like we’re winning something. It is based on. If the game learns less to “shoot first and ask questions later”, it will lead to a more subtle story and a greater awareness of the violence they accompany.