Jordan
"Aletheia"
Sekiya
CPHR Candidate
HR Executive
Esports Enthusiast
(He/Him)
PERSONAL ESSAYS
Hello!
My name is Jordan, and I'm the Human Resources Executive for the Alberta Esports Association (AESA). I've played a major part in building AESA's internal structure from its Code of Conduct to its Compliance Model to its entire Human Resources capacities (including its full recruitment cycle).
Nothing gets me more hype than being a part of an organization that is providing the long-term sustainability that Alberta needs in esports. Knowing that we are at the forefront of what we are doing in the non-profit space inspires me to bring my best, always ready to get the frame-1 advantage on whatever needs to get done.
I'm always eager to connect with like-minded and passionate individuals in this space. Feel free to reach out on LinkedIn or Twitter, even if you're new to the esports realm!
Navigating Esports: What it is and Why it Matters
JORDAN'S NOTES:
I wrote this for an introductory Communication's class when I went back to post-secondary to do a Human Resources diploma. This assignment had to follow standard business formatting, but the topic could be whatever I wanted. I decided to fully embrace one of my passions (before AESA was even an idea). I aced this entire class due to my English minor background from my University days.
This was written in November of 2018.
EXECUTIVE SUMMARY:
The purpose of this report is to explain to people with an interest in the esports scene, and also marketers trying to understand the shifting landscape in an unfamiliar territory, that esports are a relevant form of entertainment that matters by using statistics and data to inform the audience that, year over year, more money and time are being invested in this area.
This report’s first objective is to explain what esports entails, so that any reader has an appreciation for what this industry means, on a basic definition level. Working through the different interpretations the sources have come up with leads the reader to have an understanding of not only the main spectating component of what draws people to esports, but also what it means from an economic perspective.
Working through the landscape of esports involves looking at how businesses can involve themselves in this industry. In particular, this report examines instances of sponsorship from broadcast entities as well as a global level sponsor, such as Mastercard. These kinds of examples show the extent to which esports is becoming a viable industry to put time and effort into understanding.
Finally, this report explains where the field of esports is heading in the future and what that can look like in terms of entertainment hours watched, and global esports revenue.
INTRODUCTION
I was blending in back stage of the City National Civic in San Jose, conversing with some of the greatest Super Smash Brothers players in the world. These people didn't know who I was, but I played Smash and I was genial enough, so I was good enough in their eyes. On the other side of the curtain were close to 2800 spectators - a full auditorium - from all over the world cheering for their favourite competitors. All these people had come to not only participate, but also spectate in one of Super Smash Brothers' premier tournaments, the Genesis series. The air was electric, and the atmosphere shifted on a whim with every action the players on stage did in game. This kind of scene is not uncommon, and is more prevalent than one might be led to believe. This is esports, and it is one of the world's fastest growing industries.
The purpose of this report is to provide a basis for understanding esports as an industry and to appreciate the current attraction towards this field of entertainment. In particular, it is my hope to impart what esports entails, what the current state of esports looks like from a sponsorship point-of-view, as well a brief look at the future of esports as a growing business.
My research started with my own familiarity with the subject and branched into more academic and critical work with the use of library database searches and looking into the resources that other writers cited. My cited works come from published scholars, a marketing firm, as well as individuals who have personal ties to the esports industry. Due to the recency of esports as an industry, there is not much critical work done to assess this area. However, Newzoo, a marketing agency with a focus specifically on esports and mobile games, and T.L. Taylor, a respected author in the field of gaming were both critical in dissecting this topic.
WHAT IS ESPORTS?
In order to properly discuss this industry, it is important to have a clear understanding of what esports entails. To begin with, it can be described as “the world of competitive, organized video gaming … watched and followed by millions of fans all over the world, who attend live events or tune in on TV or online” (Willingham, 2018). This baseline explanation is important because it is the basic way in which many fans interact with this medium. Attending, be it in person or online, is critical to the success of this industry as spectatorship is important to the sphere in which esports operates, much like any traditional sport.
Furthermore, Taylor (2012) gives a very key defining factor into what makes esports spectatorship so important when she writes that the “path to pro gaming fandom is often born directly out of their own experience with a title” (p. 189). This is important because, as with traditional sports, the enjoyment gained from spectating is in large part due to the familiarity and proximity the spectator has with the title. Thus, fans tend to be invested in the game itself, and are often players of the game in question. Finally, while spectatorship is an important aspect in what draws people to esports, an economic standpoint must be brought in to assert what drives the machinery behind the scenes.
When trying to differentiate esports from traditional sports, it is important to make the distinction that esports, by nature of being a video game, are “commercial products by profit-making companies” implying that developers have a vested interest in ensuring the competitive aspect of their game is maintained (Karhulahti, 2017, p. 46). The entire production that goes into maintaining not only the game, but also the optics and message that are relayed to viewers, is a carefully crafted product that goes into the overall meaning of esports. Thus, profits come into the framework of how esports is translated, especially behind the scenes.
These definitions help to solidify what esports are and give a framework to discuss the importance of esports in greater detail.
SPONSORSHIPS WITHIN ESPORTS
Back when Taylor was first writing her influential work on the esports scene, the level of attention from businesses was limited. In her book from 2012, she laments that “e-sports sponsorship still sits firmly within the scope of technology products … and not ubiquitous brands you see in traditional sports” (Taylor, p. 156). The timeliness of her work gives a framework to fully appreciate how far esports has come, even in the six years that has passed since Taylor’s book was published.
One such example looks towards situations in broadcasting where “ESPN and Disney XD announced they secured a multi-year deal to broadcast the Overwatch League,” (Willingham, 2018) which would be unthinkable just five years ago. These kinds of partnerships, that branch out into entertainment mediums that can be viewed by people who aren’t even fans, are ground-breaking as it allows a greater audience to be involved with this industry. If the divide between niche consumer and the general public becomes narrower, esports has the opportunity to become a source of spectator entertainment that can be enjoyed by many, not just hardcore fans.
In addition to reaching new viewers, garnering sponsorships that exist outside the realm of technological products has been a recent development for the esports scene. Mastercard, a global level sponsor, announced that they would be initiating a multi-year partnership with League of Legends Global Events (LoLesports staff, 2018). While it is not uncommon to see non-technology brands sponsor esports events, a brand like Mastercard which supports mainstream events like The Grammy’s, is a rare occurrence and a milestone for the esports competitive scene as a whole. When the kind of sponsorships that support these industries become more mainstream and lucrative, opportunities for improving the quality of the broadcasts and enhancing the experience for spectators, follow.
These examples show the magnitude of sponsorship that exist currently in the sphere of esports, especially in the time frame established since Taylor’s experiences.
THE FUTURE OF ESPORTS
Understanding the current landscape of esports is integral to gaining an appreciation for the industry, but gaining a prospective look at what is to come is always helpful. Newzoo, an organization dedicated to games and esports analytics, offers extensive insight into how this form of entertainment is expected to grow considerably. From a purely economic standpoint, the entire sphere of esports is expected to garner $905.6 million by the end of 2018, which represents a $250 million increased over 2017 (Newzoo, 2018, p. 21). Not only does this show that more money is being spent within the various facets of esports, it also shows how financially stable and lucrative esports as an industry is. As figure 1 shows [NOTE: there was a pie graph that showed the thing I'm describing here but due to limitations I can't show it here], the total revenue from 2018 is a 38.2% increase over the previous year. A large portion of this revenue was gained from the sum total of sponsorships across the different esports leagues and games that exist.
Adding onto the lucrative financial success of this sector is the fact that the total sum of all prize money for esports events in 2017 crested over the $100 million mark for the first time, settling at $112 million across 588 major tournaments and events (Newzoo, 2018, p. 7). This is notable because as the stakes for esports competitions increases, more attention from the world will be paid attention to these games. The career aspiration angle is helped by the fact that notable esports series are implementing a franchising system. This is a critical development as it grants professional esports teams a “permanent spot… and is, in most cases, tied to a specific geographic location,” (Newzoo, 2018, p. 15) meaning new options for players and spectators alike. Pro players are offered a stable career, broadcast teams can weave a narrative to attract viewers based on hometown rivalries, and viewers get to experience esports much in the same way they would traditional sports.
With these stats and real-world examples it can be seen that the world of esports has not only been financially lucrative, but that the reach and visibility of esports as an industry has potential to grow even further.
CONCLUSION
This report has provided background to enlighten anyone with an interest in esports that this is an important industry worth investigating. With the amount of time being spent watching esports reaching 959.3 million hours in 2017, the worldwide attention that goes along with these kinds of numbers cannot be understated (Newzoo, 2018, p .25). The current state of esports, what the industry looks like in terms of current marketing interactions, as well as what the future of esports holds are all key aspects that were discussed in this paper. The realm of esports is vast, and hasn’t always been in the state it is today, but the future is bright for this industry and opportunities are just starting to pick up in terms of visibility and recognition for this area.
I would encourage readers who are looking to engage with this form of entertainment to tune into broadcasts for themselves, ask their peers if they know anything about esports, or perhaps even play the games with a friend to see how everything has come together to create the entire environment from a participatory and spectator aspect. Esports, while still figuring itself out and crafting its identity in the business realm, is on a path towards becoming a worldwide phenomenon worth looking at and investigating some thought into.
REFERENCES
Karhulahti, V. (2017). Reconsidering esport: economics and executive ownership. Physical Culture and Sport Studies and Research, 74(1), 43-53. Doi: https://doi.org/10.1515/pcssr-2017-0010
LoLesports Staff. (2018). Mastercard joins LoL esports as first global sponsor. Retrieved from https://www.lolesports.com/en_US/articles/mastercard-joins-lol-esports-first-global-sponsor
Newzoo. (2018). Free version 2018 global esports market report [PDF]. Retrieved from https://newzoo.com/insights/trend-reports/global-esports-market-report-2017-light/
Taylor, T. (2012). Raising the stakes: E-sports and the professionalization of computer gaming. Retrieved from https://ebookcentral.proquest.com/lib/nait-ebooks/detail.action?docID=3339416
Willingham, A. (2018, August 27). What is esports? A look at an explosive billion-dollar industry. In CNN. Retrieved from https://www.cnn.com/2018/08/27/us/esports-what-is-video-game-professional-league-madden-trnd/index.html
Correcting the Narrative on the Perceived Correlation Between Violence in Video Games and Real-World Aggression
JORDAN'S NOTES:
I wrote this Literature Review as a final assignment for a third-year Communications class that I did after I completed my HR Diploma (as a sort of fun victory lap). The topic could be whatever I wanted, as long as there was sufficient published literature on either side of the argument to analyze. I chose this, as it was the closest I could get to writing about video games.
I wrote this in March of 2020 and received a perfect score on it.
EXECUTIVE SUMMARY
The purpose of this literature review is to assess the research surrounding an ongoing debate between the correlation between violence in video games and real-world aggressive actions. This review was conducted by examining primary academic literature, as well as opinion pieces and videos by experts in this field. The goals of this paper are two-fold:
1. To dispel the myth that violence in video games is correlated to real world aggression, and
2. To introduce examples of video games being used for practical and positive applications to reset the reader’s expectations of this branch of media
Based on the data and conclusions provided from professionals and academics, a brief critique will be given to unearth any biases and errors the authors may have used to prove their points. Understanding how previous research fails to capture the essence of the pro-correlation argument will be important. As well, providing a fresh outlook on how current research utilizes games for positive effects in today’s society will help by allowing skeptics to see the utility games have beyond an entertainment factor. Final thoughts will be provided to provide the reader with clarity and further thoughts regarding this expansive topic and how to best stabilize the narrative about video games in today’s culture.
INTRODUCTION
Video games have been a casual past time for many individuals across a broad spectrum of age, race, and gender. The variety of games available to people is matched only by the diversity of gamers who play them. However, with the increase of mass shooting incidences, primarily in the United States, video games have become a scapegoat for explaining aggressive behaviour. It is easy to point at major violent events and the subsequent debriefing that happens afterwards where the media tries to explain the root cause of such tragedies. The cyclical nature of these arguments dates back further than one might think. Despite this, the first collective conscious memory of the correlation between violence video games and a tragic shooting event would most likely be an incident that took place in 1999: The Columbine Massacre.
Due to the active role an individual plays in a video game, much of the conducted research has focused on the link between playing violent video games and engaging in real world aggressive behaviour. While these studies showed low to moderate correlations, further research carried out in the past five years have not only re-examined those studies and found biases and errors, but have also offered different conclusions than their predecessors. With these conflicting messages being touted by experts, it is important to closely examine the underlying messages to gain a better handle on what the important facts are. Having data from professionals is a critical factor in ensuring the evidence from either viewpoint on this issue has backing beyond just anecdotes and uninformed opinions. Examining where and how the data is gathered and used, therefore, becomes a significant influence to critique.
BACKGROUND
To better understand the opposition against video games, the idea of moral panic is a useful framework to use. Moral panic can be described as the “tendency for societies to develop overblown fears of an innocuous scapegoat … which is then blamed for a real (or often imagined) social problem” (Markie and Ferguson, 2017). While this definition is not exclusive to video games, it nevertheless provides a valid lens to begin deconstructing the arguments surrounding violence in games. The nature of moral panic in various medias is further described as being cyclical, with five key stages to consider:
1. Heightened concern over a group of people and the projected consequences for the rest of society.
2. Elevated hostility towards this particular group.
3. Considerable consensus, even among a small segment of the population, that the threat of this group is real.
4. A disproportionate amount of public concern given to this anticipated harm.
5. Discussion surrounding the topic are volatile, as debate starts and ends quickly (Karlsen, 2014, p. 3).
The use of video games to explain violence in today’s society is not a recent invention. The earliest example of scapegoating video games as the root of societal aggression dates back to 1976 with the creation of a game called Death Race, which allows players to run over human-like gremlins to score points (Karlsen, 2014, p. 4). Despite the primitive graphical capabilities at the time, it was described by the United States National Safety Council as “sick and morbid” (Karlsen, 2014, p. 5) with other news outlets doubling down on the violence aspect by discussing the psychological impacts of games.
An important distinction that makes video games unique in its role as an agent of moral panic is the fact that players are an active participant in the violence portrayed on screen (Karlsen, 2014, p. 6). The shift from a passive observer, for example with television and film, to active perpetrator created a tension that was, for its time, not readily fathomed. The arguments further progressed as innocuous games, like Space Invaders, were labelled as being the reason for family violence by the US Surgeon General at the time (Markie & Ferguson, 2017, p. 102). The genetic fallacies and hasty generalizations that pervaded this time period would reign for quite some time. Without substantial studies to suggest otherwise, video games would become the lowest common denominator through which acts of violence could be brought to.
Although the Columbine Massacre occurred in the late 1990s, video games continue to be seen as a factor in performative violence, especially in the United States. In 2018, Donald Trump specifically targeted the level of violence in video games as “really shaping young people’s thoughts” (Schiesel, 2018, para. 2) in response to a school shooting that happened in Parkland, Florida. However, a cultural shift has happened where, according to Karlsen’s cyclical model, parts of the intense scrutiny towards video games being the crux of this issue have dropped off. Particularly, the current debate lacks the hostility and consensus needed to make a statement like Trump’s incite true moral panic. Having nuanced speaking points that keep the debate in check without devolving into a blame game an important factor to consider. Thus, having clear evidence to explain why the correlation between violent video games and real-world violent acts does not exist is an important factor in this ongoing debate. Data, combined with an effective analysis, will help to dispel the violence myth and help to quell the subsequent rising moral panic whenever it arises.
DEBUNKING THE CORRELATION
In order to deconstruct the arguments surrounding the perceived correlation between violence in video games and real-world violent acts, examining academic literature will be a key. In this section, several academic articles will be examined with the intention of shedding light on current research that contradicts and, in some cases, disproves previously held notions regarding violence and video games. These articles tackle various facets of the debate and will be helpful in redirecting public understanding of the issue.
To start, a research paper by Ferguson implicated through meta analysis that video games have a “minimal deleterious influence on children’s well being” (2015). While conducting his meta-analysis, he paid close attention to the validation and standardization in each instance. He also brings to light the issue of publication bias which, as will be discussed many times in this section, continues to be a contributing factor to the misinformation regarding the correlation between violence in video games and real-world aggression. Further criticism revolves around the issue that a violent video game is not defined in any specific literature. Games with varying degrees of violence are collated into one study in order to show an angle that the researcher is trying to prove. Comparing retro arcade games to mobile games to first-person shooters is, as Ferugson puts it, “as meaningful as compiling the Christian Bible, the Red Badge of Courage, and Cujo together as ‘violent literature’ in a single conceptual space because all happen to contain violence” (2015). This excerpt, while witty and candid, also draws attention to the central question of who is defining the topic. In these cases, Ferguson argues that due to a lack of consensus on how to properly approach and define the topic, researcher’s efforts to effectively draw conclusions are at risk of being dubious. He is right in that drawing correlations between video games and real-world aggression needs stricter handling in order to draw conclusions with merit.
In a 2019 study by Przybylski and Weinstein, the researchers conducted a carefully planned experiment to determine if a link exists between engaging in violent video games and aggressive behaviour in the real world. The basis for their paper is rooted in the acknowledgement of flaws with the General Aggression Model (GAM) that previous studies have utilized. The GAM is a framework that, for certain researchers, helps describe the underlying connection between consistent exposure to violence and the increase in aggressive thoughts and actions (Przybylski and Weinstein, 2019). Although the GAM is widely utilized, it is not without its criticisms. A major issue is that it overlooks subjective tendencies such as aggressive individuals seeking out violent games or that aggressive behaviour may be linked to a player’s “basic psychological need for competence” (Przybylski and Weinstein, 2019) when playing a video game. Thus, while the GAM has applications, its use is incomplete and is often linked with publication bias, a type of error where researchers overstate the effects of their study in order to be published in a scientific journal. The combination of these two factors has shed doubt on the validity of previous studies where a connection was made between game violence and aggressive behaviour.
To avoid the previously stated issues, Przybylski and Weinstein conducted their own study using a carefully designed method to gather data. Their experiment relied on a unique factor: youth, aged 14 and 15, were rated by their caregivers on the aggressive behaviour the teens exhibited in a month-long period. This was done to eliminate a phenomenon known as mischievous responding, which happens when individuals exaggerate their self-responses and create polarizing data (Przybylski and Weinstein, 2019). They also relied on a third-party coder to classify the content of the games being played which further eliminated subjectivity from the study. Reducing error based on previous models and studies shows that Przybylski and Weinstein are not only able to acknowledge the issues within this debate, but that they are also actively correcting the trajectory of future studies to come. Within their study, they admit that an uncorrected model combined with variables previously not hypothesized about could lead one to reach conclusions that are, “in isolation, a cherry-picked result” that would “add undue weight to the moral panic surrounding electronic gaming” (Przybylski and Weinstein, 2019). Their cognizance surrounding the literature on this issue, with particular attention on publication bias, is astute. In the end, their study provided a solid understanding that the connection between violence in video games and adolescent aggressive behaviour are not correlated.
In a similarly rigorous study, Hillgard, Engelhardt and Rouder provided a meta-analysis by examining 381 estimates based on 130,296 participants (2017, p. 3). While analyzing the multitude of studies available, three glaring criticisms arose, two of which are vital for this discussion. As previously mentioned, and has become a common theme by this point, publication bias was found to be a prevalent error which pushes researchers to exaggerate the statistical significance of their study in order to be publishable in journals. Accompanying this bias is also an error called p-hacking, which is the idea that researchers increase a Type 1 error, a false positive, in order to have statistically significant results, thereby increasing their chances of being published (Hillgard et al., 2017, p. 5). Seeing these two kinds of errors side by side is cause for concern because it immediately calls into question the validity of the studies that were previously done. Given that publication bias has appeared as a criticism of the debate in more than one study, careful attention and scrutiny should be paid to the academic evidence presented by those who believe a link exists.
In addition to the errors mentioned above, Hillgard et al. critiqued the General Aggression Model just as Przybylski and Weinstein did. Hillgard et al. found that there was no clear evidence to support the idea that violent video games caused individuals to have aggressive behaviour and that, instead, there was evidence of bias contaminating the results previously found (2017, p. 34). The critique of previous studies, and the GAM in particular, calls into question the usefulness of the paradigm that is central to the pro-correlation side of the debate. If the GAM is not an adequate theory, then consideration should be given to developing a new understanding if one wishes to pursue this line of thinking.
Understanding the broad strokes of why previous research is flawed is one way of debunking a myth. Another, just as helpful, method is to examine where the research fails to capture the total sum of its parts. In a study by Kuhn et al., the longevity of the studies previously done were called into question. Short-term priming effects may have been a leading factor in the conclusions drawn from those studies (Kuhn et al., 2018). In a two-month study, the researchers conducted a broad assessment battery to assess for negative behaviours right after a violent game was played and then again at the two-month mark (Kuhn et al., 2018). The researchers found that there were no specific changes in “aggression, empathy, interpersonal competencies, impulsivity-related constructs, depressivity, anxiety or executive control functions” (Kuhn et al., 2018) at either intervention points, and even when compared to a control and passive group of gamers. The findings from this study are important because they underscore that, in both the short and long-term, negative behavioural effects associated with violence are not correlated to performative violent acts in video games.
Throughout the various academic articles examined clear conclusions can be drawn that connect them. Publication bias remains the top culprit when examining why previous literature was heavily in favour of a correlation being present. As well, the design of the past studies raises questions as to how rigorously they were considered. One can dismantle the pro-correlation argument by examining past articles and critiquing them for their methods and content, or by conducting new research that provides a new, more nuanced and balanced view of the issue. It is important to examine the literature carefully in order to come to a conclusion that is properly supported by thorough and conclusive data.
REWRITING THE NARRATIVE ON VIDEO GAMES
With substantial evidence pointing to a disparity between violent video games and real-world aggression, a void forms where, if nothing negative is being said about video games on the news or by politicians, very little is said about video games at all. The prevalence of games as a form of entertainment continues to increase which can leave much to an outsider’s imagination as to the positive influences a video game can have in today’s society. A notable proponent of the movement to push video games as a positive force in the today’s culture is Jane McGonigal, a game designer and director at the Institute for the Future. Known for a famous TEDTalk in 2010 espousing the positive effects games can have on the world, she gave a follow-up TEDTalk where she presented specific examples of video games and virtual reality being a way to influence and help people in their every day lives.
One such instance was taken from a, then unpublished, study looking at using a Virtual Reality (VR) game to help manage pain in burn victims receiving treatment for their wounds. It was found that the patients, all youth, reported “significant reductions in worst pain… children spent less time thinking about their pain… children reported significant reductions in pain unpleasantness, and the children reported 27% higher ratings of fun during wound care treatment” (Hoffman et al., 2019). Although the rating scale used is subjective, being based off the pain perceptions of the patient, the measures in this case less likely to be contaminated by mischievous responding due to the nature of the study. Patients have very little reason to lie about the pain they feel given that, under excruciating circumstances, relying on medication to manage the pain would be preferable to lying about the VR treatment. McGongial further explains the science behind VR as a pain management tool in her TEDTalk. By being engrossed in a virtual world, the brain is neurologically distracted from receiving pain signals due to the fact the brain is busy processing other visual and auditory signals (TED Archive, 2017). The use of VR as an alternative to, or in combination with, traditional opioid usage during these kinds of treatments is important as it opens new doors in the area of pain management.
A second example McGongial provides is the use of visually stimulating puzzle games to help prevent the effects of PTSD. By playing a visually engaging puzzle game, like Tetris or Candy Crush, right after a traumatic event has happened, the brain is unable to embed visual memory of the traumatic event thereby preventing flashbacks (TED Archive, 2017). This is due, in part, to the fact that games like Tetris heavily use the visual processing area of the brain, which essentially hijacks the area and stops the traumatic event from being solidified in one’s memory. The use of these games as an intervention tool is important as the reduction of intrusive memories, as well as the diminishing of memories over a period of time, are key aspects when looking at a PTSD diagnosis (Samuelson, 2017). By incorporating visually demanding games as a psychological tool to help victims when they are waiting for professional help, the prevention of the most lingering aspects of traumatic events can be alleviated.
Further examples that McGonigal provides are in the area of behaviour, and mental health recovery. The former is a VR game that puts the gamer in the position of a forester charged with cutting down a tree. The game provides haptic feedback in several aspects, from the machinery of the chainsaw to the impact of the tree hitting the ground. The study McGonigal cites showed that participants used less paper product over the subsequent week compared to a control group which only read about deforestation (TED Archive, 2017). This change in behaviour shows promise, as the applications of VR can be used in in many scenarios. One area of potential study may be in the field of phobias, and overcoming certain fears by way of introducing them in a VR world. The applications of VR and game worlds to change real world behaviour may be a breakthrough in terms of using video games for more than just self satisfaction.
The last example McGonigal provides is with an initiative she brought forth herself. SuperBetter is a mobile, Augmented Reality (AR) game designed to help treat depression, among other mental health challenges. According to the research on her game, which was unfortunately not able to be accessed in detail due to a combination of paywalls and NAIT’s licensing not having access to that particular journal, SuperBetter helped eliminate six symptoms of depression in six weeks, an impressive outlook for a game anyone can access and immediately start playing (TED Archive, 2017). In addition, the website for SuperBetter touts the effect of its game by being transparent in the studies that have been done, and clearly defining the key points that make the game successful (SuperBetter, 2020). The critical success factors that make this AR game worthwhile are centered around the fundamental idea that resiliency improves one’s ability to achieve goals which can lead to an increase in overall mental health (SuperBetter, 2020).
In each of the cases McGonigal provides, she is keen to point out the positive effects these varying games can have on a multitude of different aspects on one’s health. She specifically targets various aspects of health, behaviour and psychology, which provides an interesting contrast to the opposing argument that video games cause real world aggression. Whether intentional or otherwise, McGonigal provides concrete examples that directly counter the narrative already established, which is that of video games being denounced as damaging for the mental health of those who play them. Just as optimism forms a critical point in the games McGonigal talks about, she provides optimism for those hoping for a change in the narrative progression of video games in today’s society. As an expert in the field of game design, the research she conducts is clear and focused. Although one may be inclined to be skeptical of her unyielding positivity towards video games, further investigation reveals the truth of the matter, which is that although McGonigal is an ardent proponent of games, the literature backs up her claims and provides the necessary evidence to substantiate her argument.
One final example of video games being used as a positive force in society is unrelated to the personal wellbeing of an individual. Instead, the rise of a specific branch of video games, competitive gaming and esports, has ushered in an economic aspect previously unseen for this kind of media. According to Newzoo, a digital research firm with a specific focus on mobile and competitive gaming, the world of esports will reach the $1 billion revenue mark in 2020 (2020, p. 28). Granted, this research was conducted before the COVID-19 pandemic which has resulted in public events being canceled, the idea that video games can contribute to the economy in a significant way would be unheard of even a decade ago. All the aspects that go into producing esports for an audience, whether that be sponsorships, advertisements, production, on-air talent, and even merchandise, contribute meaningfully to the overall economics of the locations they reside in. As a side note, the spectacle of esports is not limited to its dollar value impact. Even if an individual doesn’t pay to watch a broadcast online, the total viewing hours for the top 25 most watched games on streaming services reached a staggering 1209.6 million hours (Newzoo, 2020, p.32). For context, 1 billion hours is equal to approximately 114, 000 years. While this may be an unfathomable amount of time to comprehend, in 2017 Netflix users watched, on average, 1 billion hours of content per week (Netflix, 2017).
The research provided by agencies like Newzoo is important not only to legitimize the field of esports as a whole, but to provide valuable data to various companies for marketing, sponsorship and branding deals. The consumer research they provide is extensive and gives insight into the trends for the global esports movement which is needed to predict and forecast how companies should incorporate esports into their own branding opportunities. Further, the data collected on participants and viewers is key to show a growing demographic in this area. As the focus shifts to online broadcasts and streaming as a legitimate form of entertainment, the acceptance of this genre of gaming will only grow as a result. Having a way to keep a finger on the pulse will be critical for the growth of competitive gaming.
CONCLUSION
Video games, whether one actively engages with this kind of media or otherwise, are an important mainstay in today’s culture. Games occupy a unique niche in that they offer the player a way to participate in various spaces, some of which might be objectionable to certain groups. As long as there have been games, the demonization of games as being a root cause of actionable violence has also been prevalent. Breaking the cycle of moral panic is an important aspect of ensuring that continued debate around video games is nuanced and focused on important facts. The research provided in this review will be an important tool to debunk the common arguments that arise when talking to someone who holds a pro-correlation view. Additionally, it is important to recognize the good that video games can provide, whether it be in managing pain and stress, or bolstering a local economy through entertainment. Providing tangible examples of ways video games have alleviated problems for humans will be helpful in dispelling the fallacies surrounding this issue. Just as McGonigal espouses the power of video games to instill resiliency in those who play them, so too must gamers use that same resilience to correct the current narrative.
REFERENCES
Ferguson, CJ. (2015). Do angry birds make for angry children? A meta-analysis of video game influences on children’s and adolescents’ aggression, mental health, prosocial behavior, and academic performance. Perspect Psychol Sci. 2015;10:646–66. Retrieved from: https://nature.berkeley.edu/garbelottoat/wp-content/uploads/Ferguson-2015a.pdf
Hillgard, J., Engelhardt, CR, Rouder, JN. (2017). Overstated evidence for short-term effects of violent games on affect and behavior: A reanalysis of Anderson et al. (2010). Psychological Bulletin, 143(7). Doi: 10.1037/bul0000074. Retrieved from: https://www.researchgate.net/publication/287643631OverstatedEvidenceforShort-TermEffectsofViolentGamesonAffectandBehaviorAReanalysisofAndersonetal2010
Hoffman, H. G., Rodriguez, R.A., Gonzalez, M., Bernardy, M., Pena, R., Beck, W., Patterson, D.R, & Meyer III, W.J. (2019, August 8). Immersive virtual reality as an adjunctive non-opioid analgesic for pre-dominantly Latin American children with large severe burn wounds during burn wound cleaning in the intensive care unit: A pilot study. Frontiers in Human Neuroscience 13. Doi: https://doi.org/10.3389/fnhum.2019.00262. Retrieved from: https://www.frontiersin.org/articles/10.3389/fnhum.2019.00262/full
Karlsen, F. (2014, August). Analysing the history of game controversies. DiGRA 2014, 8. Retrieved from: http://www.digra.org/digital-library/publications/analysing-the-history-of-game-controversies/
Kuhn, S., Kugler, D., Schmalen, K., Weichenberger, M., Witt, C., & Gallinat, J. (2018, March 13). Does playing violent video games cause aggression? A longitudinal intervention study. Molecular Psychiatry, 24, 1220-1234(2019). Doi: 10.1038/s41380-018-0031-7. Retrieved from: https://www.nature.com/articles/s41380-018-0031-7
Markie, P.M., & Ferguson C.J. (2017). Teaching us to fear: The violent video game moral panic and the politics of game research. American Journal of Play, 10, 99-115. Retrieved from: https://files.eric.ed.gov/fulltext/EJ1166785.pdf
Netflix. (2017, December 11). 2017 on Netflix – A year in bingeing. Retrieved from: https://media.netflix.com/en/press-releases/2017-on-netflix-a-year-in-bingeing
Prescott, A.T., Sargent, J.D., & Hull, J.G. (2018, October 2). Metaanalysis of the relationship between violent video game play and physical aggression over time. PNAS, 115. Doi: 10.1073/pnas.1611617114. Retrieved from: https://www.pnas.org/content/pnas/115/40/9882.full.pdf
Przybylski, A.K., and Weinstein, N. (2019, February 13). Violent video game engagement is not associated with adolescents’ aggressive behaviour: evidence from a registered report. Royal Society Open Science, 6:2. Doi: http://doi.org/10.1098/rsos.171474. Retrieved from: https://royalsocietypublishing.org/doi/10.1098/rsos.171474
Samuelson, K. (2017, March 31). Playing Tetris can reduce PTSD symptoms, Study Says. Time. Retrieved from: https://time.com/4720555/tetris-ptsd-trauma-study/
Schiesel, S. (2018, March 13). The real problem with video games. The New York Times. Retrieved from: https://www.nytimes.com/2018/03/13/opinion/video-games-toxic-violence.html
SuperBetter. (2020). The power of living gamefully. Retrieved from: https://www.superbetter.com/science.
TED Archive. (2017, February 13). Heal your brain with video games | Jane McGonigal. Retrieved from: https://www.youtube.com/watch?v=9zyNcov087U
Newzoo. (2020). 2020 Global esports market report [PDF]. Retrieved from: https://resources.newzoo.com/hubfs/Reports/NewzooFree2020GlobalEsportsMarketReport.pdf?utmcampaign=Esports%20Market%20Report
Choices and Responsiblity in Undertale
JORDAN'S NOTES:
The essay below was featured on a (now defunct) Australian gaming-centric website called Another Castle. Through the power of the wayback machine, I was able to find it which brought back a lot of memories.
This was originally published in November of 2015, just 2 months after Undertale's release, hence the adherence to spoilers.
Preamble:
There is a lot that can be said about Undertale, and taking a quick scour of the internet will provide you with a lot of content surrounding this recently released gem. The critical acclaim is not unsupported; Undertale really is that good, and it deserves the attention it is getting. What I want to do with this essay is nudge you in the direction of playing this game if you haven’t already. I won’t spoil anything major, even though that would make discussing everything so much easier. I can only offer you a little slice of the plethora of discussion that has gone on, which ranges from the enticing cast to the core gameplay elements and storyline to the meta elements that permeate this game. If you get to play one game this year, make it Undertale.
"Killing is unnecessary"
– Description under the Steam listing for Undertale
Undertale is a game that borrows elements of traditional RPGs and weaves them together with intuitive bullet-hell style interludes. While this comprises the bulk of the “playable” game, what sets it apart from its peers is its extra battle command to spare the enemies you face. This provides the player with a very clear (and unique) dichotomy to see the game through to its endings. Battles end when you either fight your enemies until they die, or use the “act” command to interact with your foes and then spare them when either certain qualifications are met or when enough turns have passed and the scripted interactions stop. The choice between fight and mercy is so crucial to the game that your actions have the power to not only influence how the game progresses, but also how the game responds to you on succeeding, and mid, play throughs. This responsiveness becomes the crux on which Undertale subverts our knowledge of not only RPGs, but also our understanding of what it means to make critical decisions in a game space.
Traditionally, RPGs are set up in such a way that gaining experience increases your level which, in turn, give you stats so that you can proceed further into the game. Undertale is different in that it is entirely possible to get through the game without gaining levels. In essence, tobyfox challenges the player to go against what is imprinted in the player’s tendencies. The game does not punish the player with unneeded obstacles to finish the game in a neutral or pacifist route. It is time consuming, yes, to go through the game in this manner but the game derives much of its charm and story through the way enemies and bosses interact through you via your passivity and inclination to understand their personalities rather than outright commit murder. Conversely, going through with fighting is shown to have consequences as the game responds to not only the quantity of enemies you defeat in an area (until the point where no more show up), but also who you defeat.
As an early example, so as not to spoil the entire magic of the game, the player has the choice to kill the guiding and motherly force, Toriel, in the tutorial stage. Empathic players would heed her words and go the passive route as she shows no actual reason for blocking your way other than to keep you safe. It is only through compassion and your determination to spare her that she relents and lets you continue on your journey knowing that you will be okay against the forces that lurk beyond the initial cave. On the opposite end of the spectrum, should you successfully fight her (in one of three ways) you start down a slippery slope towards a less than pure route. Now, unsuspecting players might realize their errors and decide “hey, this isn’t what I wanted. There must be another way.” The player is correct in assuming that they can just restart their game, save Toriel, and continue along their way. However, this is where Undertale shows its brilliance, and is what sets it apart from its peers.
An antagonizing flower named Flowey will actively call you out on your behaviour. He remembers your previous play through where you killed Toriel and will, with no uncertain words, break the fourth wall, comment on your ability to save and reset the world to fit your desires before letting you off with a warning that he’ll be watching you. Resetting the timeline upon recognizing your faults is shown to correct the proximal damage, but the knowledge that someone is watching and aware of your previous actions is ultimately haunting. It’s jarring at first, but this is one of many critical moment where Undertale shows its true colours as a game that not only includes morality choices, but will actively recognize your decisions and make judgements about you as the player controlling what happens. The game doesn’t recognize the character is at fault but rather you, the player. By reaching past the barriers of player imprinting it serves to strike into your own gut and make you, the player, guilty for your actions of projecting your worst desires into a game. Undertale is a very divisive game, as it has the potential for great hope, but also for great despair. It tests the limit of the player’s willingness to commit acts of great atrocity when they are ultimately aware of their own bloodstained hands.
Both routes through the game require determination, a factor that becomes pivotal within the game itself. Passivity requires the player go through the game with the same amount of life as when they first started, and view battles more as a puzzle where each enemy or boss requires a strategy to get them to back down (not to mention being very good at bullet-hell style avoidance). Concurrent to this is the impulse to end battles quickly which is where the “no mercy” and “genocide” route shine. Of course by leveling up the character, stats increase which makes it easier to kill enemies, most of whom go down in one hit. This comes at the expense of being so thorough that literally no one on your path is spared. However, every character has their own personality which shine through even in the brief glimpses in battle. Thus, the story of the game hinges on a very interesting precipice; be viewed as a cold blooded killer, give into primal urges and slay many innocent victims, or reach out to everyone and spare the lives of monsters who truly mean you no harm. Morality plays a huge role in this game, and while the game actively encourages you to make sure you choose the pacifist or even neutral route, you can deny them that timeline and go through with your own primal desires.
It can be argued that morality choices, or even branching plot lines, are not unique to Undertale. Games like The Stanley Parable, The Walking Dead and The Wolf Among Us all rely on player decisions to tell the story they do. The player crafts the story to their own liking, all the while being removed from the situation as a third party observer. The choices in those games are usually binary, and fall within a prescribed script that doesn’t deviate too far from a general singular story line. Undertale challenges this convention in two key ways. First, the game remembers certain aspects of your playthroughs on subsequent (or even mid) runs and makes remarks in kind. These little jabs serve to remind the player that although they may be in control of the game from a remote point of view, the onus falls squarely upon them for what happens. You, the player, are directly responsible for the denizens in Undertale and the actions you take reflect upon you and not necessarily the controllable character.
Secondly, the disparity between your allowable actions are what set you apart from the playable characters in similar games. The decision between following how the game intends you to play, and what you can actually unleash is what gives this game its true depth. Other games do have the decision to kill or save certain characters at critical plot junctions, but none do it with the consistency that Undertale does as every character is vital to the understanding of Undertale. It is the cooperation between decision making coming full circle to create memories within the game space, and the player assuming direct responsibility for the actions in-game, that the player response to Undertale has been so visceral. In the following quote, a character explains why this visceral response is so crucial to understanding why the game operates even on a meta level and doubly so during the genocide play through:
I know your type. You’re, uh, very determined, aren’t you? You’ll never give up, even if there’s, uh… absolutely NO benefit to persevering whatsoever if I can make that clear. No matter what, you’ll just keep going. Not out of any desire for good or evil… but just because you think you can and because you ‘can’… you have to.
The game acknowledges why people play games. You play a game to experience a story. You proceed through it, knocking down any obstacles in your way. But what if the story being told can be altered? What if the story repeats over and over again not just for the player but for the characters as well? What if the characters remember? What if there are consequences for your actions that aren’t just a change in the ending, but a change in the dynamic of the world? Undertale is an organic, responsive critique to not only RPGs as a genre, but also gamers and their tendencies towards testing the playable limits of a game setting. The world is robust, the consequences are tangible, and while moral choices are not a novel implementation, the design choice to make the player responsible is. Tobyfox challenges our complacencies with games and makes sure that we are aware not only of the great power we wield as an out-of-game force, but also of our ability to alter the lives and timelines in worlds different to ours.
You just have to be determined enough to follow through with it.
The Progenitor of Exploration-Based Video Games: A Deconstruction of Yoshio Sakamoto’s Super Metroid
JORDAN'S NOTES:
During my last year of undergrad for my BSc, I took a "History of Video Games" class. Despite the name, the class didn't really delve into the history, but instead focused on the broad cultural impacts that video games have brought to the world. One of our major assignments was to write a deconstruction essay on a video game that was released before 2005.
This was written in March of 2013.
In April of 1994, the third installment of the Metroid series, Super Metroid, was released on the Super Nintendo Entertainment System to critical acclaim. Years after its debut, it continually tops many “best SNES games of all time” lists on such gaming websites as GamesRadar, ScrewAttack and IGN. This positive response to a game that is often overlooked in comparison to its siblings, Mario and Zelda, is not without grounded reasoning. The SNES saw the “evolution of Nintendo’s premier franchises” so it is clear the Metroid series falls under this categorization (Stetzin). In order to understand why high praise is often given to Super Metroid, one must look at the mechanics behind its ingenious narrative design, in which the “perfect balance between imagination and actual gameplay” is intricately woven to create an unforgettable gaming experience on the SNES (Stetzin).
Super Metroid belongs to the 2D platforming genre and, as such, has some key defining characteristics that lend itself well to defining the game space. One such characteristic is that 2D platformers are often “composed of various zones that each have their own unique look” (Koncewicz). This description aptly fits Super Metroid’s vast and expansive world of Planet Zebes which is home to such defining locations as the lava laden Norfair and mysteriously aquatic Maridia. Each location is distinct due to a noted colour scheme and musical ambiance that pervades each divided section, making each sub-world an experience unto itself when discovered for the first time. Each of these worlds are connected seamlessly, often transitioning with only the musical shift notifying the player that another area has been entered. While the aesthetic nature of each level is an important aspect to be addressed, there is more than intricate level design that makes Super Metroid a notable game years beyond its initial release.
Super Metroid belongs to the 2D platforming genre and, as such, has some key defining characteristics that lend itself well to defining the game space. One such characteristic is that 2D platformers are often “composed of various zones that each have their own unique look” (Koncewicz). This description aptly fits Super Metroid’s vast and expansive world of Planet Zebes which is home to such defining locations as the lava laden Norfair and mysteriously aquatic Maridia. Each location is distinct due to a noted colour scheme and musical ambiance that pervades each divided section, making each sub-world an experience unto itself when discovered for the first time. Each of these worlds are connected seamlessly, often transitioning with only the musical shift notifying the player that another area has been entered. While the aesthetic nature of each level is an important aspect to be addressed, there is more than intricate level design that makes Super Metroid a notable game years beyond its initial release.
While it’s important to examine what defines the genre that Super Metroid belongs to and how those characteristics apply to the game, it is also necessary to dissect the mechanics that set up how Samus affects the world she explores. For this reason, it is important to define some key vocabulary so that a clear vernacular for describing the mechanics behind Super Metroid doesn’t become an exercise in deciphering jargon. Primary core mechanics can be described as being those that “can be directly applied to solving challenges that lead to the desired end state… are readily available, explained in the early states of the game, and consistent throughout the game experience” (Sicart). Applying this definition to Super Metroid would yield such primary core mechanics as shooting her arm cannon and missiles, jumping, and transforming into her morph ball form. These fundamental mechanics persist throughout the game and are necessary for the successful completion of Samus’ mission; without them, Samus would be a largely ineffectual protagonist. Supporting primary core mechanics are secondary core mechanics which are “either available occasionally or require their combination with a primary mechanic in order to be functional” (Sicart). With this definition, abilities such as Samus’ ice beam, screw attack, and spider ball would fall into this category as each of these abilities requires a primary core mechanic in someway in order to function. While it is not mandatory to collect all of Samus’ secondary abilities, doing so pushes the narrative driving her to complete her quest. Power-ups provide her with an arsenal that makes her a more robust heroine in her desolate struggle against Mother Brain. From a level-design point of view, the secondary core mechanics are what give Super Metroid its exploratory nature as new modes of inquisition are afforded to the player when Samus gains a new power up. In effect, these acquired abilities serve only to bolster an already robust primary core mechanic so that new modes of exploration are made available. For example, super missiles shatter green doors, while the Varia suit allows for the expedition into the lava- filled Norfair without Samus’ energy being sapped away by the heat. These are only a couple of the many abilities Samus gains on her quest, but is clear that the secondary core mechanics are what make Super Metroid the experience that it is touted for. While primary core mechanics set up a paradigm for Samus’ abilities, it is the integration of secondary core mechanics that awaken the player’s sense of inquisition as new methods of exploration are unlocked.
While a platformer by nature, Super Metroid is by no means a linear game. In fact, one area where it plays with 2D platforming characteristics is with what Koncewicz describes as “smart playgrounds.” Essentially, by using “existing resources,” the player is provided a “wide array of experiences” that ensures he or she will “continuously get better at [playing the game]” (Koncewicz). Super Metroid is noted for many gameplay mechanics, but among the most documented is its heavy use of “rewards of facility,” which are rewards or enhancements that “enable a player’s avatar to do things they couldn’t do before” (Gazzard). Super Metroid thrives on exploration, so it is no surprise that the reward of finding enhancements is what underscores Samus’ progression as she traverses the entirety of Zebes alone. This parallels what is normally expected of enhancements for the time, namely that of extra lives or other rewards which work to increase a player’s score. The various upgrades she gets “unlock spaces in relation to issues of … the player’s freedom of exploration,” especially with consideration to how she navigates the labyrinthine corridors that make Zebes so treacherous (Gazzard). In this case, the use of rewards forces the player to “reevaluate every room [the player] can remember” and subsequently “see how this new technology fits” with the scenario. This gives Super Metroid its defining flavour - that of a non-linear game which relies on exploration and the player’s inquisition in order to unlock new facilities and areas in order to progress. Not only does the player become more accustomed to the world Samus battles through, but the player is also granted novel ways to progress through the Zebes with “experimentation and improvisation” guiding her as a she does so (Koncewicz).
While it’s important to examine what defines the genre that Super Metroid belongs to and how those characteristics apply to the game, it is also necessary to dissect the mechanics that set up how Samus affects the world she explores. For this reason, it is important to define some key vocabulary so that a clear vernacular for describing the mechanics behind Super Metroid doesn’t become an exercise in deciphering jargon. Primary core mechanics can be described as being those that “can be directly applied to solving challenges that lead to the desired end state… are readily available, explained in the early states of the game, and consistent throughout the game experience” (Sicart). Applying this definition to Super Metroid would yield such primary core mechanics as shooting her arm cannon and missiles, jumping, and transforming into her morph ball form. These fundamental mechanics persist throughout the game and are necessary for the successful completion of Samus’ mission; without them, Samus would be a largely ineffectual protagonist. Supporting primary core mechanics are secondary core mechanics which are “either available occasionally or require their combination with a primary mechanic in order to be functional” (Sicart). With this definition, abilities such as Samus’ ice beam, screw attack, and spider ball would fall into this category as each of these abilities requires a primary core mechanic in someway in order to function. While it is not mandatory to collect all of Samus’ secondary abilities, doing so pushes the narrative driving her to complete her quest. Power-ups provide her with an arsenal that makes her a more robust heroine in her desolate struggle against Mother Brain. From a level-design point of view, the secondary core mechanics are what give Super Metroid its exploratory nature as new modes of inquisition are afforded to the player when Samus gains a new power up. In effect, these acquired abilities serve only to bolster an already robust primary core mechanic so that new modes of exploration are made available. For example, super missiles shatter green doors, while the Varia suit allows for the expedition into the lava- filled Norfair without Samus’ energy being sapped away by the heat. These are only a couple of the many abilities Samus gains on her quest, but is clear that the secondary core mechanics are what make Super Metroid the experience that it is touted for. While primary core mechanics set up a paradigm for Samus’ abilities, it is the integration of secondary core mechanics that awaken the player’s sense of inquisition as new methods of exploration are unlocked.
With the mechanics clearly defined and an understanding of how Super Metroid approaches its 2D platforming nature, it is time to elaborate on why these mechanics are important in the larger framework of the game. Simply put, the primary and secondary core mechanics work in concert to provide Samus with a method to traverse planet Zebes. However, without a more elaborate foundation, Super Metroid would be nothing more than an imitation of the Mega Man series. As mentioned numerous times throughout this essay already, Super Metroid thrives on exploration and non-linearity in order to provide the player with a unique and satisfying gaming experience. As maze-like as Zebes is, because “voluntary upgrades [are hidden] all over the place, it is ensured that even when [the player] do[es]n’t find the correct path, at least [the player] find[s] something valuable,” most often an energy tank or a missile upgrade (Bille). These less valuable “rewards of facility” (Gazzard), while not “changing the interpretation of entire scenes” (Bille), do provide an incentive to explore the entirety of Zebes. Doing so provides the satisfaction of increasing the completion percentage that is given to the player after the game is completed. However, as will be discussed shortly, new modes of inquisition also operate on a different and equally important level, specifically that of a way to quantify Samus’ narrative progression and to provide context to her silent journey into the depths of Zebes.
In tandem with the acquisition of upgrades, a paradoxical void must be addressed. Samus, the lone protagonist in a world where everything can be considered an enemy, speaks no bit of dialogue beyond the initial exposition before gameplay starts. This is notable for the sole reason that “bits of dialogue work at the local level to give the player narrative information” (Smith). With the absence of textual information demarcating Samus’ progression, this function falls into the portfolio of “interactive combat sequences scattered through the game” which “keep [the player] moving forward urgently” (Smith). In Super Metroid’s case, progression is linked to the acquisition of power-ups which act not only as tools to progress through the game, but also as important narrative placeholders. For instance the ice beam, while functioning as a way to freeze enemies in order to make them platforms, mirrors Samus’ own isolated journey through Zebes. Symbolically, it functions as a reminder that even in the unbearable heat of Norfair where the ice beam is found, the frigidity of a lonely journey still pervades the quest that Samus must undertake. More importantly though, the ice beam serves to call back upon Samus’ previous interactions with the metroids. Because the player lacks any sort of textual evidence for understanding Samus’ character as she explores Zebes, it is critical to understand her “qualities by rooting them in the past, thus providing a motivation for present action” (Smith). Thus, what can be seen strictly as a power up quickly becomes a contextual marker for the player to experience the non-textual narrative. Specifically, the acquisition of the ice beam harkens to Samus’ past in the original Metroid and Metroid II: Return of Samus, whereby the only way to destroy the metroids were to freeze them and shatter them with a missile. The sense of danger that pervaded those games is instantly reawakened with the notion that perhaps the metroids have been cloned by the Mother Brain, implicating an immediate threat to Zebes and Samus. This sense of apprehension is brought about without any sort of dialogue or visual cue in Samus’ sprite, which makes this a marvel considering how emotions are primed mainly through text or visuals in this time period.
With these points in mind, it can be seen why Super Metroid continues to dominate many Super NES “best games of all time” lists. For its time, it took a well known genre and re-constructed how gamers approached it, first and foremost by making the game non-linear. This aspect is done seamlessly, and can be seen within the first few minutes of gameplay, as the initial starting area of Zebes is known for making “left … the correct and only way to proceed” (Bille). It is seen immediately within the initial gameplay that Super Metroid is a game that challenges the pre-conceived notions of platforming and adventure-based games that pervaded the SNES’ game library. While subtle in its take on traditional platforming mechanics, it takes full advantage of a wide expansive world through which the “player [is left] at the mercy of his own curiosity and will to explore” (Bille). This personal option for exploration is notable not only because it is the first game of its kind to attempt such a gameplay mechanic, but also because it continues to be an object of play many years after its initial release for that very reason. The use of primary core mechanics that provide a framework for Samus to explore, combined with the acquisition of secondary core mechanics that don’t distract from the overall theme of exploration, are intricately woven within the expanses of the game space. It is important to examine the secondary core mechanics which give Samus more options to explore Zebes while simultaneously actings as contextual markers to denote her progress through the narrative. It can be gleaned why many consider Super Metroid to be ground breaking; it took a notable SNES genre and re-defined the mechanics to include an expansive exploration-based game that is centered around the player inquisition. Notable platformers will focus on “the flow created by intelligently combining movesets, levels and state mechanics,” but Super Metroid took those mechanics and created a new kind of video game experience (Koncewicz). Few games, up until Castlevania: Symphony of the Night, would challenge and adapt this model of gameplay, making Super Metroid a notable game, worthy of being included on the “best games of all time” lists it inhabits.
Bibliography:
Bille, Hugo. “The Invisible Hand of Super Metroid.” Gamasutra. Gamasutra, 14 Jan. 2012. Web. 11 Feb. 2013. <http://www.gamasutra.com/blogs/HugoBille/ 20120114/90903/TheInvisibleHandofSuperMetroid.php>.
GamesRadar.“BestSuperNintendoGamesofAllTime.”GamesRadar,17April. 2012. N.p., Apr. 2008. Web. 11 Feb. 2013. <http://www.gamesradar.com/best-snes- games-all-time/>.
Gazzard, Allison. “Unlocking the Gameworld: The Rewards of Space and Time in Videogames.” Game Studies 11.1 (2011). Web. 11 Feb. 2013. <<http:// gamestudies.org/1101/articles/gazzardalison>.
IGN. "IGN Readers’ Choice 2006.” IGN. IGN, 2006. Web. 11 Feb. 2013. <http:// top100.ign.com/2006/001-010.html>.
IGN. “IGN’s Top 100 Games.” IGN. IGN, 2005. Web. 11 Feb. 2013. <http:// top100.ign.com/2005/001-010.html>.
IGN. “IGN’s Top 100 Games of All Time.” IGN. IGN, 2003. Web. 11 Feb. 2013. <http://top100.ign.com/2003/1-10.html>.
IGN. “IGN Top 100 Games 2007.” IGN. IGN, 2007. Web. 11 Feb. 2013. < http:// top100.ign.com/2007/igntopgame_7.html>.
Koncewicz, Radek. “What Made Those Old, 2D Platformers so Great?.” Significant Bits. Significant Bits, 13 May 2009. Web. 11 Feb. 2013. <http://www.significant- bits.com/what-made-those-old-2d-platformers-so-great>.
ScrewAttack. “Top 20 SNES Games (10-1).” ScrewAttack, 15 Aug. 2011. Web. 11 Feb. 2013. <http://www.screwattack.com/shows/originals/screwattack- top-10s/top-20-snes-games-10-1>.
Sicart, Miguel. “Defining Game Mechanics.” Game Studies 8.2 (2008). Web. 11 Feb. 2013. <http://gamestudies.org/0802/articles/sicart>.
Smith, Greg M. “Computers Games Have Words, Too: Dialogue Conventions in Final Fantasy VII.” Game Studies 2.2 (2002). Web. 26 Feb. 2013. <http:// www.gamestudies.org/0202/smith/>.
Stetzin, Andrew. “The Top Ten Consoles of All Time.” GamingExcellence. GamingExcellent, 28 Mar. 2008. Web. 11 Feb. 2013. <http:// www.gamingexcellence.com/features/the-top-ten-consoles-of-all-time>.