Introduction
During the latest brainstorming session the creative director of Helldivers 2, Johan Pilestedt, found a fitting idea. [He] “Play good games, not current political game”, wrote. [This claim has resonated in] the player community. Specifically, it raises issues of the political function in video games. Many players appreciate games for their entertainment value. They are also interested in the experience of presence with Action, Adventure and Strategy games. Quite a bit of hype, particularly with regard to its game mechanics [and] its witty, subversive, ironic take on the world, has trailed behind Helldivers 2.
The bil rodent/animal examples are representative of an issue that afflicts the game industry in general. Should game developers include political themes in their works? Or should they focus purely on gameplay and fun? This blog explains the possible consequences of his utterance, the nature of Helldivers 2 and what is currently the topic of discussion, concerning politics in game development.
The Context of Helldivers 2
Helldivers 2 is a cooperative Multiplayer game featuring soldiers whose actions are controlled by players, and they engage in combat with alien chuckbugs. The game was highly acclaimed for the single player hard game play and absurd/ ironic humor. The sequel continues this tradition. It is one-stop Action at the level of people's group/teams so it is very fulfilling. There is a player's experience of, for example, a battle for laughs with the absurd nature of the plot.
The game’s satirical elements often reflect on contemporary issues. But it is all done in a fun way. There is, uh, something appealing about this mix of jokes and thrills for players, for example, it is a quite funny story. The following observation also clearly shows the basic objective of the only work is to produce either a very humorous, and addictive game, or no game at all, which does not possess any political content.
The Role of Politics in Gaming
The subject of politics in video games is complex. There are political elements in some games and their absence in some other games. There are game and computer programmers within that games and computers are obligated to simulate real world issues. This includes topics like diversity, equity, and inclusion (DEI). Nevertheless, in some instances such skill advances can then lead to further undesirable changes in game play.
There is also an anti group of players who do not like games with political themes, as it can be constraining to the flow of imagination. Games are often seen as a form of escapism. Individuals play games for pleasure of experiencing and for adventuring in the real world. (II) What remains relevant, is that if gaming is politicized and draws thematic parallels to what is at stake in public discourse, players may experience resulting alienation.
Pilestedt's proposition is in accordance with the idea that games need not be fun per definition. On the other hand, he argues that political content is only removed from the game if it is not part of the game's mechanisms, i.e. This type of point of view is also held by many of the game players, especially from the Action and Adventure game fields.
The Appeal of “Good Games”
“Good games” emphasize enjoyment and engagement. Players seek engaging, challenging, approachable game play. Being given a positive social experience facilitates that players may play the games with a different level of meaningfulness.
Helldivers 2 exemplifies this philosophy. It motivates coordination and planning, and as such it is a tempting choice for anyone (Casual and hardcore gamers equally). There is a particular feature of cooperating play, friends/enemies and it can be leveraged to improve the game experience. However, if attention is drawn to feature on the possibility that the player may become another "self," making it possible to instantiate a different "self," then the player should also get to instantiate and reason about the "selves" that are instantiated.
Games that put great emphasis on good mechanics and fun story will have the best success. Gamers seek out immersive experiences that offer the ability to escape and be entertained. When concentrating on gameplay, designers can construct exciting worlds of Adventure.
Balancing Entertainment and Message
Although it might appear intuitive that communication platform entertained at a core level deserves a considered analysis, entertainment at the core level via communication platform is not straight away supported. Pilestedt’s comments remind developers to strike a balance. They are in a position to bring together the information that will be interesting for the participant, yet keep the game enjoyable.
For example, Action games (e.g., Helldivers 2) can be pitch black settings with dark black comedy, ironic, and satirical humour. This allows for commentary without overshadowing gameplay. When the equilibrium is reached, then the developers will have enough audiences. Comical effects need not be distracting from serious topics.
As the gaming community expands, designers will not be "blown off the map", and it is an ethical duty to be heard by, and to listen to, the developers. Fans appreciate when their voices are heard. Games like Helldivers 2 are being enjoyed but typically in a shallow way and without often politically charged, difficult, or demanding narratives for its own sake.
Community Reactions
The reaction to Pilestedt’s remarks has been mixed. Some commend him for prioritizing gameplay over politics. What they think is that games should be a distraction and not a textbook. Others suggest that, and games can be, avatars for 21st century anxieties. They state that social critique is the key factor in making the rich tapestry of a game complex.
When someone criticizes the sentence, above all else they emphasize the "necessity" for equilibration. There is, in fact, a large amount of users who are looking for games in order to occupy them but also to give them something interesting to keep them amused. Truth be told, of course, these thematic elements are intertwined in the game play. If "game" is introduced and played in a comic style or in a mocking way, it will be kept humoured and it may even be used to generate ideas.
Looking Forward
Playing games for politics is a war to be won yet in the creation of the gaming world. Game designers, however, must also consider the target audience for the game and the type of message the game is meant to convey. Highlighting Action, Adventure, and Strategy will always attract players. Yet in question there has been the question of when and how to introduce more complex ideas compared to which ideas to introduce for which reasons, which has constituted one of the more difficult parts of the project to be addressed.
The success of Helldivers 2 lay in something that makes gaming great. Pilestedt's remarks are an appeal to arms for the industry to strive for "good games", for which the industry has the space for games to be moving narratives and even narratives of contemporary life. The question is how to ensure that they do not have the ability to influence the soul of the gameplay.
Conclusion
Conclusion, a position by Johan Pilestedt, "play good games and give political views for the day no place, play good games," speaks to a fundamental problem in the gaming world. Interactive play and narrative, for example, offered in the game Helldivers 2, are good examples of the enjoyment that interactive play and narrative can offer. Nevertheless, the user is forbidden from making that image politicized (and of course is not allowed to go wild, at least). Similarly, the success of Helldivers 2 is showing that the appetite remains for, and desire for, Action based games with Multiplayer elements which capture gamers' attention. The future of gaming will lie in the direction that gaming can be designed in such a way as to be able to offer and access a feeling of (l) real meaning. With the aim of game development being the game itself, its creators can not only guarantee market readiness, to a diverse audience.
Long term, the most successful games will be those that are ultimately most closely linked to the player experience, as opposed to the experience of the person who makes the experience.
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