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.
Fire Emblem is a series that has seen many instalments over the years, yet I feel that it’s still one that flies under the radar for most people. Certainly up until the point where I played Fire Emblem: Heroes, I always knew it as, “That fantasy turn-based tactics game that most of the sword-wielders in Smash Bros. came from”. It intrigued me, but never enough to warrant going out and buying a game. This probably wasn’t helped by the fact that many of the titles in the series have become highly sought-after commodities in recent years. Regardless, its release as a free-to-play mobile game signalled an easy (and cheap) way for me to give the series a shot.