The makers of This War of Mine do not see their game as politically or artistically reactionary. “Our motivation wasn’t so much to create a natural opposite to many war games as to create a different kind of dramatic experience, something closer to a tragedy,” Pawel Miechowski, a senior writer at 11 Bit, told me. But tragedy is the natural opposite of Call of Duty-style triumphalism. In turning its focus away from the high drama of conflict, This War of Mine runs counter to a broader cultural project that, through the lens of entertainment, makes us more familiar with—and perhaps more readily accepting of—war itself. Drozdowski will admit that his team hoped to defy player expectation. “Video games have programmed us to see characters in games as enemies, or to believe that there is always a perfect solution, or even a riddle to be solved,” he said. “But, in This War of Mine, there is often no good or obvious choice. It’s always simply about trying to survive the night, in the hope that, in the morning, the guns will have stopped.”

Source: This War of Mine and the New Combat Aesthetic – The New Yorker

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