There’s a lot to be said about the Fallout series, and almost all of it has long-since been said. However there’s one aspect of the series, particularly its first 2 entries, that has been playing on my mind.
War….war never changes.
Far from a cool slogan, this phrase, though oft-misunderstood, helps to frame a larger discussion of games from a critic and developer perspective.
Well, here we are again. There’s been a lot of talk lately about parasocial relationships, the type that we unilaterally form with artists, social media figures, writers, but I like to think that isn’t how you feel about me as a writer. I think that in the reading of this deconstruction there’s an unspoken overlap on some level going on, a trade of understanding. But we’ll get to that, for now let’s take that proverbial last strike of the hammer into Getting Over It With Bennett Foddy.
Well, here we are again, I’m crossing my fingers that most of you made it this far, and I’m glad for each and every one of you who did. I have a lot left to say, and I hope you have a lot left to read, so without too much delay, let’s get right to the second section of our deep dive into Getting Over It with Bennett Foddy.
Getting Over It With Bennett Foddy is a game by the titular Bennett Foddy that was released in the far-gone year of 2017 to much contemporary critical acclaim and analysis. Why then revisit an already well-explored game years after its release? Personally I find it almost poignant to talk about the game as a memory, as an experience that has stuck with you that you find yourself reflecting on years down the road, much as one reflects on tough times, challenges overcome, or mistakes that they’ve made. We engage in this all the time in our lives, and what is art, if not something that seeks in an ephemeral but present way to be part of our life experience?
Now, this article is going to be a long one, it’s not titled Volume I without reason. This isn’t our normal fare, it’s dense and a slow burn, after all this game has a lot to say and I’ll be touching on far less than half of it, but I hope you’ll find it meaningful. So go get some water and settle in, I won’t judge if you can’t finish this in one sitting so don’t feel pressured to, if you need to take a break this article will still be here, and you can pick up right where you left off.
When I was younger there was a strange atmosphere to exploring the internet, the heady sensation of an explorer standing on the edge of the world. You could find the most fascinating places to delve into and map out through obscure web forums, conversations with friends who would drop mysterious locations that they had discovered themselves in your lap, or even a spiraling web of Wikipedia notations.
Why modern mainstream FPS games flee from the demons of their forebears
Running through hallways. Low on health, out of ammo, not knowing if the next corner would lead me to the salvation of a health pack, or to a horde of demons ready to slam dunk a fireball down my throat with no way left to fight back. Haggard, tense, tired.
This was my experience with Doom in the 90s, and one I’ve found sadly lacking across the last decade of mainstream games, replaced instead with regenerating health, demons that explode like piñatas of goodies, and a misplaced sense of near-immortality. Games, unlike any other medium, provide unique experiences at the intersection of story, setting, and mechanics, but it’s a fundamental shift in mechanics across the medium that is responsible for this spiral from horror to god complex.