Showing posts with label fiction. Show all posts
On Fallout 4: My Article in The Times of India
So here's my take of Fallout 4 from my column in the Times of India. The title is the handiwork of my friend and editor Subhayu Mazumder and I like it a lot. There is, of course, a lot more that I could have said about the choice mechanisms and the context of the videogame. In response to some of the comments I received on my statement that the game involves the player making choices that shape his/her identity in the game, I have a few points to add:
Returning to the choice issue, when we see it in terms of formal gameplay construction, you have a point. However, the game is premised on a typical branching of ethical positions - almost too clear-cut although you could move back-and-forth a bit. So if you stick to the mission sequences (I don't), it boils down to Army / Government, Academia / Science , Resistance / Left-wing and Citizens / Commonwealth. Of course, you can't play as a super-mutant or a ghoul or a synth although you can have people of these 'races' / social groups as your partner. Nevertheless, making decisions like having to fight the son you were seeking (or not) are difficult ones. Absalom, Absalom! methinks. Likewise, the decision to side with any faction is one of taking a moral position and at the same time accepting the constraints of gameplay associated with this.Anyway, after starting in medias res, here's my article:
2277: An Apocalyptic Odyssey
War never changes. A previous article in this column had
reviewed Fallout 3 and promised a
further visit to the war-ravaged post-apocalyptic America that is featured in
the series. In Fallout 4, we are in Boston, known as the Commonwealth in 2277,
where the few survivors of nuclear war have set up their homes in what remains
of the once famous metropolis – some now live inside a former baseball stadium
and others live in scattered settlements that grow irradiated crops and are
constantly under threat from raiders, supermutants and animals that live in the
wasteland around them. Besides these, there are ghouls, described as ‘necrotic
posthumans’ by the Fallout wiki, the
reminders of what excessive radiation can do to humans. Some of them have lost
their abilities to reason and turned ‘feral’ or zombie-like. Besides the usual
denizens of the Fallout world Fallout 4 is a fitting sequel to the
former games and the journey from the Capital Wasteland (erstwhile Washington)
and New Vegas seems another worthwhile venture in reflecting on the horrors of
what nuclear war can do while having another go at saving humankind in this
alternate-reality universe.
The Commonwealth is a huge world to explore and can easily
provide over a week’s gameplay if not more, depending on which faction you join
and what you do in the game. The Karma system from the earlier game is missing
although your companions change their attitude towards you depending on how you
act. The factions in the game have obvious intended present-day parallels. The
Brotherhood of Steel is what remains of the army and they return from the
earlier games with their crusade against the misuse of technology and their
goal of establishing peace among humanity. Woven into their plans, however, is
their clear rhetoric of racial cleansing – mutants, ghouls, androids and indeed
anyone who is ‘other’ than ‘human’ needs to be eliminated. They possess
state-of-art pre-apocalypse military technology including a giant robot called
Liberty Prime, which destroys everything in its path while alternately spewing
anti-communist slogans and lines from Robert Frost. Opposed to them is the
Institute, whose resemblance to MIT is easy to spot (it is located underneath
the Commonwealth Institute of Technology) and who are committed to improving
the world by building ‘synths’ or synthetic humans. Despite their purportedly
glorious aims, they are a terror to the Commonwealth residents and their synths
are often used against humans rather than to aid them. Among the other
factions, the most prominent are the Minutemen, so named after their historical
antecedents who fought against the British in the American War of Independence
and whose stories, like the poetry of Frost, are deeply connected with the
local lore of New England, where the game is set.
As with its predecessors, Fallout 4 is not just about playing a shooter game - it is also about who you are and wish to
be. A web of moral choices determines your path towards the many possible
endings and some of them are fairly difficult to make. For example, when you
find out that the Director of the Institute is none other than your son whom
you have been looking for since the game started. Or when you realise that the
easiest and quickest way to finish the game is to side with the Brotherhood of
Steel and ‘save’ the world from their problematic perspective and racial
agenda. Also, personally speaking, having to witness a nuclear explosion
conducted for the ‘noble’ cause of destroying the Institute was less than
comfortable.
This does not mean any less of the usual though – boss
fights are as challenging and the player will have a hard time fighting the
legendary Deathclaw, the Mirelurk Queen
or the Legendary Sentinel Robot. The game also allows you to craft your own
weapons and build settlements so if you see junk around you in your many
travels, be sure to pick it up for future use. The missions around protecting
the settlements tend to get repetitive after a time. Other than that the heavy
system requirements (needs high-end graphic cards on PCs and does not play on
the older consoles such as PlayStation 3 and Xbox 360) and the high price for
all the platforms will surely dampen the enthusiasm of many Indian gamers. All
said though, a trip to the Commonwealth is not to be missed - the system upgrade that you had been putting
off and the wait until prices come down, notwithstanding.
Rating: 5 out of 5.
Genre: First / third-person shooter,
role-playing game (RPG), open-world game
Platforms: PC, PlayStation 4 and Xbox One.
As the Indian summer raged at its worst in Calcutta and the monsoons were somewhere down South still and tantalisingly close but not yet there, I received a more than welcome invitation that was to take me to Bombay to participate in a discussion on the scope of fiction. As I stepped out of the Chhatrapati Shivaji Airport and climbed into the waiting taxi, the driver told me that I was in luck. The rains came pouring down soon enough and shortly afterwards, I met my hosts Jyothi and Rajat in their flat. I was here to be part of Syntalk, a weekly talk show based on themes and notions of all kinds where speakers with very disparate perspectives to offer on a topic are brought together to participate in an unrehearsed discussion. What you say (then and there) is what you get. To give you an idea as to the diversity of the topics, the one prior to ours was on poison and the next week, we were told would be the episode on water. Just water. Well, water fascinates me (as readers of an earlier post on Fallout 3 might remember) and I must listen to that episode soon. All the episodes are available for free as podcasts on Soundcloud; the aim that the couple have is ambitious - they wish to record as many aspects of human thought as they can, for the future.
Ask me to speak on the scope of fiction and I can go on for weeks on end. Fortunately, the other speakers were the eminent authority on narrative theory, Professor Rukmini Bhaya Nair and Anjum Rajabali, Bollywood scriptwriter of Rajneeti and Satyagraha fame and they had their unique takes on fiction. I have worked under Professor Nair at IIT Delhi and there is much that I agree with in her book, Narrative Gravity. She started the conversation with Daniel Dennett’s comment that human beings build stories as birds build nests and then raised the question of narrative versus fiction as well as how the individual related to narratives. Anjum is the first film scriptwriter whom I have met and it was indeed very interesting to hear him speak about how he constructs his stories and to compare in my head the storyboards for games with the scripts that he writes for films.
The SynTalk organisers have already summarised our discussion so I shall content myself with a copy-paste from their web space. The talk itself is on SoundCloud and is a free podcast. Do have a listen. I am sure you will have as much fun as I had in being a part of it. As the reader, are you also not the writer … and the player? Well, here’s what the three of us had to say:
And here's a fun summary from the hosts:
Ask me to speak on the scope of fiction and I can go on for weeks on end. Fortunately, the other speakers were the eminent authority on narrative theory, Professor Rukmini Bhaya Nair and Anjum Rajabali, Bollywood scriptwriter of Rajneeti and Satyagraha fame and they had their unique takes on fiction. I have worked under Professor Nair at IIT Delhi and there is much that I agree with in her book, Narrative Gravity. She started the conversation with Daniel Dennett’s comment that human beings build stories as birds build nests and then raised the question of narrative versus fiction as well as how the individual related to narratives. Anjum is the first film scriptwriter whom I have met and it was indeed very interesting to hear him speak about how he constructs his stories and to compare in my head the storyboards for games with the scripts that he writes for films.
The SynTalk organisers have already summarised our discussion so I shall content myself with a copy-paste from their web space. The talk itself is on SoundCloud and is a free podcast. Do have a listen. I am sure you will have as much fun as I had in being a part of it. As the reader, are you also not the writer … and the player? Well, here’s what the three of us had to say:
And here's a fun summary from the hosts:
SynTalk thinks about narratives & stories, while constantly wondering whether it is the stories that ‘make us up’ and give us our self-hood. We delve into the worlds of literature, film making, video games, philosophy, cognitive sciences, and linguistics to explore why & how we tell & understand stories. The concepts are derived off / from Aristotle, Coleridge, Diderot, Georges Polti, Hitchcock, Labov, E M Forster, Lumière brothers, de Beauvoir, Augusto Boal, Chomsky, Salim-Javed, David Lodge, & Dennett, among others. How identity, time, memory, & emotions are knotted together by fiction. Is story telling like a flight simulator, with most of the rewards but none of the risk? How narratives however, are not synonymous with fiction and, cover both fact & fiction. Do we remember narratively, & create causal links (with mnemonic durability) between the past, present and the possible futures? The difference of a story from a (film) script, & the importance of the dramatic centre? Is narrative experience a (playful) exploration of the space of possibilities – i.e., is all fiction a game? How incompleteness is also a valid possibility in narratives. Why are morals so critical in any satisfying story? How important is it to have a sense of the ending, & how can one return the narrative time to the present? And, in the face of the crisis of our death, is our life more like episodic TV serials, rather than a Greek tragedy? Is lying or cheating a related ability to telling stories? Are stories (video games) more about tying (dying) and untying (undying)? Are there cultures without stories? How there are real physiological reactions and a willing suspension of disbelief on seeing (say) a film in a dark theatre. How can a screenwriter be moved to tears by her own story? Why can’t there be stories without characters or emotions? Are there only a finite number of plots or narratives? What do you see when you look into the mirror in a first-person shooter game? Is there a serial killer inside you? The links between ‘queen died’, 36, spect-actor, chaos, Gilgamesh, Spiderman, Flower, Lagaan, Alzheimer’s, Max Payne, jumping over the chair, alienation, Psycho Mantis, & cheat codes. How are we able to create stories, but are not able to count the number of words in our head? Is social reality the most fictionalized, & is monologue always secondary to collaborative dialogue in story telling? Why aren’t video games laugh-out-aloud funny, & does it have anything to do with the fact that you can’t tickle yourself? Is the future of fiction likely to involve a range of affects & small scale emotions? Can the story strike back at the player (or the reader)? The SynTalkrs are: Dr. Souvik Mukherjee (game studies, literature, Presidency University, Kolkata), Prof. Rukmini Bhaya Nair (linguistics, narrative theory, IIT Delhi, New Delhi), & Anjum Rajabali (screenwriting, Mumbai).
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So what do you think? In case you are interested, here's SynTalk's channel: https://soundcloud.com/syntalk. I'm about to listen to the latest episode on 'The Meanings of Information'.
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