GamerGate has developed something of an image problem. When the movement first came into the public eye in mid-2014, it was used to frame all manner of disparate narratives. If you go on any number of popular games journalism sites, it’s likely to be labelled as some sort of hate-fuelled rampage by a bunch of sadistic internet misogynists, primarily targeting women in the games industry. Other sources refute this, claiming that the whole thing is solely about promoting ethics in games journalism. Then, of course, there are all the people who fall somewhere other than these two bounds, muddying the waters even further.
Come and sit down; I’ve a tale to tell,
Of a game whose mechanics were boring as hell.
It was quite the looker; the work put in showed,
Yet no joy was present while travelling Plague Road.
The menus seemed like those for mobile devices,
As though the game had an identity crisis.
It seemed to be built to be played on the go,
Where perhaps the repetitiveness wouldn’t show.
Instead, it was ported, so haphazardly,
To Vita, PlayStation 4, and also PC.
I found all too quick did monotony creep,
And before long, the game had me falling asleep.
Hell Warders made an awful first impression.
Upon loading it up, I was quickly greeted with clipping assets, overflowing lists that disappeared off-screen, a non-functioning character creator, and various spelling and grammar errors in pieces of menu and help text. Oh, I also couldn’t play the game; there were no multiplayer games available for me to join, and the “Create Game” function seemed to be broken.
The second attempt didn’t fare much better. After some of the more egregious issues (namely, the character creator problems and the ability to actually start a game) were sorted out, I was greeted with something that felt tiresome and monotonous more than anything. Enemies spawned in from multiple directions, leaving me quickly overwhelmed and resigned to defeat. It appeared it was going to be a bad time all around.
Thankfully, subsequent patches proved this to not be the case.
I found Block’hood to be deeply unsettling.
Now, that’s something of an odd emotion to feel when playing a cheery, colourful city-builder, no? With its intricately detailed cities (known as “‘Hoods”) that can consist of dozens of structures carefully stacked on one another, it seems like a lovingly optimistic view of the future. Catwalks criss-cross between constructs, providing elevated walkways to navigate the vertical landscape. Glasses clink in bars, internet cafes emit bleeps and whirs, and clothing stores sell the trendiest fashions to citizens. It’s a veritable utopia.
Suddenly, things collapse. Businesses fall into disrepair. Apartments cave in and lose all sense of life. Protesters line the streets as black clouds swirl in the sky. The veil is lifted, and the weight of everything you’ve done comes crashing down with the city you worked so hard to build. The clothes in those stores were manufactured in sweatshops around the corner, which in turn received their supplies from pollution-producing cotton fields. The internet cafes distributed electronics that were made with plastic, and therefore, oil. The apartments were constructed on the graves of trees, driving out assorted wildlife in the process.