This article is a continuation of the last article on Detroit: Become Human. In it I explore the game’s controversial relation with references to historical forms of oppression, as well as the lead developer’s (lack of) answers to this situation.
In this third installment of How Games Tell Tales, I will discuss games that offer a large amount of player input. Using Detroit: Become Human as an example, I will explore how such choices can work, how most choices are not as meaningful as they seem, and how this intertwines with the concept of intended play.
In this second installment of How Games Tell Tales, I will discuss a particular aspect of video games: simulation. By using some theories on historical simulation, I will use Nioh as an example of how games can represent history and mythology.
While video games are a unique narrative medium, they have plenty in common with media like movies and books. So much in common, in fact, that they can tell the same stories, in a style of storytelling that is referred to as transmedia. But what is transmedia storytelling?
Video games are a global phenomenon. As discussed on this website before, many Western made video games propagate certain tropes and prejudices about non-Western cultures and histories. Even though there is a large world of non-Western developers, they seem unable to challenge the Western-dominated field. Marcel Keurentjes analysed this inequality of power in video game development in his Master Thesis at Leiden University. This piece is a summarized version of his work.
This fourth article in a series of deep dives into alternative historical depictions of Africa and Colonialism in video games focuses on Ethiopia. In its quest for modernisation, Ethiopia looked east to Japan and the Meiji movement. The Historical Flavour mod for Victoria II simulates Ethiopia’s development throughout the nineteenth and twentieth century. How is the legacy of the Japaniser Movement represented?