Categories
Gaming and gender

Metroid Prime and gender norms in the first person

I’ve spent some this month trying to get acquainted with a game that I should have played years ago. It’s been on my to play list for years. The idea that ultimately got me to the title screen was the idea of playing game that’s both combat driven with a strong narrative core, crucially it’s also a game that features a strong female character as its lead – and does so using the first person.

It’s extremely common for a game to feature the first point, it’s normal for a game to consider the second. A game that features both those as well as the third is still sadly rarer than I’d like.

The game of course is Metroid Prime.

A glorious experience

I’ve arrived extremely late to the Metroid series, but what is immediately apparent is Samus Aran such a compelling hero because she is associated with a quiet power, a resolve and tenacity to get a job done. Her brilliant portrayal in the Metroid series over the years (Other M excluded) remarks that her success and strength comes from her skill and experience rather than pre-defined expectations of her character or ability based on her gender.

Being able to play as a female character in any character driven game is always important to me. It aids the process of me getting into the mindset of the game in a way that being forced to play as a male character simply doesn’t enable.

Scanning a boss.A triumphant pose in a save area.

It’s rarer to get this level of comfort when starting a game, I am so used to a male character model being the default in an adventure or FPS game such as this that when the opportunity presents itself, I find myself playing with a sense of elation that wouldn’t be there otherwise.

This may seem particularly strange, especially given the fact that the game is in a first person view. I am spending most of the game looking and experiencing the world through Samus’ visor, seeing the world as she would, with only fleeting glances of her suit and face.

But the idea of being playing a great game, especially one where I am able to play in the “right body” is sublime and is important to me.

Some male gamers play as female characters when given the opportunity to experience something outside of their normal experience of the world. Confusingly many women gamers like myself play for the opposite reason. To experience our games in an body more akin to our identity, as the “different experience” is often the norm.

The problem with the first person view

I suspect that such is the power of Samus’ persona that few would feel uncomfortable playing as her. That said how many first person based games are there where you can play as a woman? Despite the rising popularity of the first person view, a female character model (especially for single player mode) is still not particularly common.

It’s just as well that I have Samus as a guide through Metroid Prime. The game is uncompromisingly difficult at times. I often find myself playing at a level far beyond my comfort zone, as the game stretches and challenges me to be worthy of Samus’ equally uncompromising skill.

I simply wouldn’t have persevered for a character I related to and admired half as much. If I ever need a reminder that I’m playing a game that challenges the norm of this genre I see a flash of Samus’s face every time a missile explodes too close to her, daring me to continue.

A closeup of a map screen.Spotting a space pirate using the thermal visor.

After long thought, the only other recent examples of story driven games in the first person perspective I can think of (with female protagonists) are Portal and Mirror’s Edge. Both of these games (along with Metroid Prime actually) are not first person shooter games. Two of them are first person adventures, with the third being a first person puzzle game. While I find it impressive that I can think of three games that circumvent the gender and gameplay norms of the first person view in such a way, I am still saddened that very few true FPS games continue to ignore their female player base, providing male character models exclusively.

Epic games didn’t include the option of female characters in multiplayer until its third iteration of the Gears of War series. Bungie finally provided the option in Halo Reach (but only after making elites playable first in Halo 2). The ability to play as a woman is still missing from the genres two most popular series – Call of Duty and Battlefield.

The only series I can take any long-term pride in is Rainbow Six: Vegas, which has always given me ultimate level of character creation (in its multiplayer) and has done so from the very beginning. Regardless of genre, women have the undeniable need to be able to experience a game in a model matching their gender, particularly if the game is about customisation and bespoke player rewards based on skill.

Metroid Prime has helped to remind me of this fact, and not only that, it’s made me want this option in even more games.

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Game design analysis

Visual help in Monster Hunter Portable 3rd

Deciding to play a game completely in Japanese is not a decision I take lightly. In fact it’s a decision I’d rather not make at all. More often than not I (and many others like me) find ourselves importing a game simply to experience a game that doesn’t have much hope of making it to our region.

I imported Monster Hunter Portable 3rd (and it’s HD equivalent on PS3) at the beginning of this year for just this reason. This was at the peak of a frustrating drought of Western Monster Hunter releases, so the decision turned out to be a favourable one.

Despite the frustration of the release though, if you’ve played a Monster Hunter before, you’ll be right at home, and that’s because of how carefully designed Capcoms seemingly busy interfaces are. Strangely this isn’t something I really noticed until I could no longer read the words – a great litmus test of gameplay usability.

Why play in Japanese?

There are many reasons why this most recent title has yet to reach anyone in the West. The most prominent being the lack of true online support for Monster Hunter Portable 3rd. Many Japanese gamers still prefer to play Monster Hunter’s multiplayer in it’s original format, using cooperative play in person rather than online.

Since I am unable to play online at this current time, returning to Monster Hunter Portable 3rd every week or so (in another language to boot) is an ongoing gaming project (and another example of good old fashioned local cooperative gaming). While I’m aware of the fan-made project to play the game in English. My Monster Hunter partner and I decided from the get-go to play the game as intended.

Helping you visually

I am surprised at how competently we are able to manage playing Monster Hunter in another language.

This isn’t mere familiarity with the series, Capcom employs some very smart game design principles to make what can be an obtuse game very understandable by a foreigner.

The organisation of hunting quests by rank/difficulty has been present since the first game, but Portable 3rd improves this, by shading the whole quest element the appropriate colour. Generic quests in blue, and urgent quests in red, Gathering in green etc. The combination of ranked star system and numbers used to denote higher level quests becomes particularly helpful when you understand no Japanese.

Where the game really comes into its own though is its use of colour. The game is great at using colour to denote positive and negative effects. You can work out from skimming the quest list a) where the quest takes place b) how many monsters you’ll be fighting and c) what the rewards are for that mission.

Reviewing the quest list.Three monsters are indicated for the next quest.

This great use of colour works all the way through the game, from the good/bad status effect icons, the skill effects on armour right the way through to showing which items are returnable supply items in yellow.

Making sense of things in the heat of the moment

Overall Monster Hunter Portable 3rd continues this theme of visual accessibility by not changing the fundamentals of the series more improving the established elements that work, such as the menu and ability to skip between rooms. It’s very easy to commit to memory what all the functions of the menu do. In battle, I find myself flicking between my combine menu and quest info easily.

From the in-game battle menu I find I am using the iconography for the items used, far more than I did in the English versions of Monster Hunter. In the heat of the moment I search for the right icon I need first, then double check the Japanese secondarily to make sure that I have the right item. Capcom reuses colours and identifiable icons here to (usually) help distinguish one item from another).

As a bowgunner, ammo is the only area where I find I have had to learn some Japanese. Each non-elemental ammo type has three different grades, so occasionally I find I can muddle up pierce and normal ammo when I am reloading. In fact ammo is the only occasion where this careful colour scheming can fall down – colours are reused not just once but more, the worse example is the use of red ammo being used for fire, tranq, dragon and demon shot.

The colour schemes per monster make items really easy to distinguish.Hunting lizards in the volcano area.

Gathering items and collecting monster parts however is helped by the colour schemes – despite the fact that they are reused as with ammo. All the large monsters you hunt have their own unique shading of the item parts, this together with the monster item icons makes it easy to tell a Tigrex claw from a Rathian webbing.

These colour schemes are used for every item, from bombs, to insects. Making the process of collecting and finding the appropriate item easy to do.

Picking out important messages

Visuals aren’t the only way that the game supports familiarity though. There are careful audio moments where (such as the song sung when meat is cooked correctly) and the icon prompts from your felyne companions that do transcend the language barrier. The rare moments where some English does creep in is appreciated. This ranges from the reloading messages on bowgun ammo, to success messages such as “quest clear” and “hunter rank up” notifications. I suspect the decision to put these particularly important statements into English was a way to make them stand out. As someone who doesn’t understand any Japanese, they are a welcome reward to my hunting.

Audio cues continue to be useful through battles and general play. Success cues help support the messages I cannot always read, such as telling me when a monster has spotted me (by the battle music starting up) or when my supplies have arrived, or my supporting items worn off. This is most evident during something like combining items – particularly in the heat of battle. The audio cue quickly tells me which items have been successfully created, and how many failed without having to look at the item(s) in detail, this often saves precious seconds when things aren’t going as well as I’d like.

English is used in key places such as the character creation screen.Creating a new bowgun reveals a list of items required.

A fan of localisation

Above all though, this is a game that has been made possible by a Western audience by the ever-impressive Monster Hunter community. Fans have translated the game into English for those who wish to do so using custom firmware. Most importantly for me though have have created a series of online resources which have been able to help me get started. From everything to explaining new tutorial and drink quests that are new to this Monster Hunter entry, all the way through to weapons upgrades and armour creation.

Weapons and armour creation are one of the few areas of the game that are trickier in Japanese. In this iteration of the game I have to plan out what I wish to create and build things far less on a whim.

As enlightening and enjoyable as this Japanese playthrough of the game has been, it has fallen to the fans of the series once again to expand the intended audience. Capcom’s usability improvements in this iteration of Monster Hunter shows that is an evidently very playable despite a lack of Western release. I only hope that this Monster Hunter drought finishes soon. I have a new-found appreciation of the localisation process.

Categories
Retro gaming

A summer of nostalgia

Retro gaming suits the summer well. The summer is a time of comfort, when we relax and take our holidays. I’m noticing more and more people in the gaming community are using catch up on their backlog, or return to what they really enjoy playing.

Summer is the perfect excuse for me to combine two favourite experiences – playing games cooperatively and replaying games I once enjoyed deep in the throws of nostalgia.

Gaming and solidarity

Nostalgia is the main reason I find myself returning to this idea every summer in particular. This time last year I started a weekly cooperative replay of Final Fantasy 9 with my closest friend.

We have a long history of playing games together. It taps straight back into the old way we all used to play games before the internet. Back when we were kids you learnt how to play games by watching others in the room, observing your friends (and competitors) skill. You carefully watched where your friends succeeded and faltered. Your gaming skill blossomed not under your single, solitary effort, but weeks and months of shared rumours, hints and collaboration.

Far from the image people having of gaming being purely about navel gazing. Gaming – then and now – was always about a shared purpose. This might be from the way we play games together, or talk about our separate experiences, it’s rarely something that we as gamers shut away and never talk about. This sense of shared purpose might be why so many of us are still so fascinated by video games despite being encouraged to move on from them.

To this day sharing a game, even a single player game with another is still my favourite way to experience it.

Revelling in nostalgia

Going back to old titles that you admired in the past has its disadvantages though. Each year I find myself returning to titles that I loved hugely as a child and find more often that not that the games I held in such high regard fall ever so slightly under the scrutiny of my older mind.

Every so often though games stand up as proudly as they did before. The games that fall under the greatest scrutiny are those we played as children. Similarly I enjoy returning to the games I played as a teenager when I was starting to identify as a gamer. The era at which this happened for everyone is different, but mine was during the original Playstation era, when I was being raised on RPGs such as Final Fantasy VII. Replaying the games that I enjoyed from this area for me is a two-fold pleasure – the experience of playing the game again, and the pangs of nostalgia that come from reminding yourself of how much you appreciated a game the first time around.

Which brings me to Final Fantasy IX. A game I did not widely understand or appreciate at the time. Many of my problems with the narrative came from the “re-imagining focus” of the game. How poorly this came across to me upon playing the game for the first time. How could I know about the importance of crystals and other old Final Fantasy tropes, if Europe was not to even see the games that Final Fantasy IX references until far after it was released. As a result I had a very muted response to Final Fantasy IX upon its release here, truthfully the well-trodden medieval setting was a disappointment after the cyberpunk sizzle of Final Fantasy VII and VIII.

So playing Final Fantasy IX with another person (particularly someone who enjoyed it at launch more than I did) was about tapping into that very old way of playing a game. We helped each other through it, imparting what our favourite moments were, working through narratively and what didn’t. We took turns to play, chuckled and laughed and made an evening of every session. I will now always associate Final Fantasy IX with that happy and successful replay, buoyed up by the positivity of another.

We start Final Fantasy VIII next, and our roles are reversed. I am more comfortable with that game, as it made more of an positive impression on me (despite the bobbins involved in the story) her not so much, but the journey to find out how long that game holds up to each of us will be just as memorable.

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Currently playing

Blindsided by Dragon’s Dogma

I like video games that surprise me. Games that I was sure weren’t worth my time, that then single-handedly reverse that view over the course of play. Dragon’s Dogma is a great example of this concept.

In this game Capcom pulls many contorted punches in its brave but ultimately strange version of an open world.

An endless source of devoted foot-soldiers

Dragon’s Dogma drew me in with the concept of pawns – the player created characters which form the basis of your party. I never thought that it would fall to Capcom to comment so cleverly on the flippancy of game-controlled characters.

I can admire the elaborate storytelling that Capcom has employed here to explain away such common gaming conventions as characters supporting you so unflinchingly – dying over and over for you without question.

Pawns are humanoid beings that originate from a mystical portion of the gameworld known as the Rift. They operate almost as a hive-mind. As companions they share advice and help you in combat, but they’re evidently not of the same world. Although humanoid they’re not human, and are treated differently to other residents of the game world. There’s something out of sorts about the way that pawns respond to your every request diligently, and how they’re regarded by other player characters – with distrust and disdain.

This is the first time that Dragon’s Dogma makes you sit back and question the rules of not just this gameworld – but any. Happily it’s not the only occasion.

Breaking the norms of the genre

There’s a subtle humour to Dragon’s Dogma that I simply didn’t expect from it’s medieval setting and open-world trappings. This is perhaps best summarized by the bombastic introductory music – the catchy J-Rock melody striking out against the calm landscape of the title screen – complete with brooding dragon milling about in the transition from sunrise to set. It’s a contrast of sound and vision – a careful brush of two themes (part power ballad meets attempted Tolkienism) that shouldn’t really work together but somehow in this game they strike the right sort of mood.

You start the game and this careful interplay of themes is not mentioned again – at least not immediately. It is glimpsed at though. The obvious innuendo from key characters in the plot mixed in with the delicate innocence of others. And there’s not a hint of this strange, sinister and humourous underbelly until your first appearance in court.

Humour and whimsy

Awkward ill-judgements on your part – to help or talk to a character or go to a place which you shouldn’t (despite what your decades of gaming experience are telling you – to explore). You start to meet characters that in truth you really shouldn’t be speaking to in the context of the game and your heroes part in it.

Dragon’s Dogma doesn’t just slap you on the back of the hand (as similar games of this genre do) for idle misdemeanours. A wrong decision is quickly revealed and the in-game punishment all too fleeting thereafter. It’s not a complaint about the difficulty of the combat more a design decision that means that every decision carries some genuine risk.

I have spent more time inadvertently putting my character in prison than I have in any other game – I am forced to by Dragon’s Dogma solitary save file and auto-save system which prevents cheeky avoidance of its rules. In truth I am enjoying the experience all the more for it. The in-game characters thinly disguise a mocking tone, making the game a glorious curio – a game that is aware of how strangely it behaves (in a normally straight context) and revels in it. It’s the metaphorical equivalent of an NPC winking to you – the player – knowingly from inside the screen.

For all the humour and the intrigue, dark subplots are also at play, things more sinister than I expected from this game, subjects implied in the shape and movements registering on my characters face, and this is all far before I have followed the games main story to its end. I have yet to meet the titular dragon properly. I am having far too much fun flirting with the games silly underbelly, and mastering its effortless combat.

Whimsy and fun – things altogether too easily forgotten in games like this, a genre usually weighed down with sombre and serious tones. Dragon’s Dogma strikes a different, almost perverse balance, some of it works, some of it doesn’t, and I love it.

Categories
Gaming and gender

Prejudice and its place in the gaming community

After my last post about how games continue to motivate me, I feel a little ashamed for my absence. Greater still is my shame for our community this month, falling rather short of where I expected it to be in regards to tolerance.

Naively perhaps, I had regarded gaming (to a certain extent at least) to be a hot bed of diversity, more open-minded and liberal than our peers in the normal media would have the rest of the world believe.

Why I’m disappointed

I thought this because of the way that gaming has been treated historically. We have been (and are still frequently) demeaned as being part of a hobby of eccentrics and the socially inept. This is often stated to us as such without a hint of shame, if it isn’t openly implied in conversation.

In truth, I thought we, with our collective appreciation in a hobby that other people look down upon, would be more open-minded when it came to individuals in our community being treated without the respect and tolerance they deserve.

I’ve experienced intolerance for my interests, gender, race and age numerous times outside of gaming. The intolerance I have personally experienced inside the gaming community has diminished to almost nothing. I feel comfortable here. I am however ashamed that I do not speak out more openly about the occasions that I am not so happy of.

The moments when I have been verbally abused online simply for playing a game as a woman. The assumptions made about my inability to play games because of my gender. The telling assumption that because I talk about games online that I must be male (in situations where my real name is not used). While these things may not sound huge to those who have not experienced them, they chip away at your resolve slowly.

Moments where gamers feel uncomfortable playing games in public pale in comparison to the very real and threatening behaviour that happens inside our own walls – on our own turf – where we as gamers should feel safest. If public disdain of your love of gaming is the sole disadvantage you experience when playing games then I consider you extremely lucky.

Even those of us that are not guilty of intolerance in our community, are we helping to tarnish the experience of being here by tolerating such prejudice in gaming? It’s not true to say that there’s nothing that we, the silent majority can do in defence of others. If the perception of gaming in popular culture is every going to change all of us have to the very example of what is great and good in this community and we shouldn’t stand for anything less.

A word on gender imbalance

I’ve been a gamer for a long time. When I started to play games it was with the innocence of a child. As a grew older I became more aware of issues within gaming that was at odds with the other big part of my identity (such as the poor treatment of female characters, the portrayal of female gamers, and the lack of representation of women in gaming). When I started to identify myself as a gamer, it’s almost as if I had to switch off my mind to everything that bothered me. I almost had to focus on the part of our community that left me excited and proud rather than disgusted and ashamed.

I can empathise hugely with anyone (male or female) that’s experienced any sort of negative treatment while playing games, particularly given the nature of our hobby. Gaming it’s meant to be entertainment , it’s meant to be inclusive and rewarding. Instead we’re denying this pleasure to a wider spectrum of people by intimidating diversity away from something that fundamentally belongs to everyone. We’re letting a small minority of gamers perpetuate the very behaviour that we’re accused of in moral panic ridden headlines. Worse still we are all encouraging this behaviour by keeping silent.

Maybe we haven’t progressed as much as I hoped we have. However I adore gaming, and I’m not going anywhere. I’m a living, breathing reminder that many of us want bigger and better things for our community. Gaming is and should be for everyone and there’s simply no reason to perpetuate an agenda of prejudice.