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This is a really great article about video game difficulty and criticism. Here are some quotes.
This is a really great article about video game difficulty and criticism. Here are some quotes.
In the 1990s a group of Japanese video game designers were faced with a curious problem. Most games at the time came with three difficulty options, escalating in arduousness from "Easy" through "Normal" up to "Hard." In this way, a player could match the game's challenge to their skill and the potential audience for the game broadened from the talented to the talentless, and all of us who muddle away betwixt.
Video game difficulty was a commercial elaboration, not an artistic one. For many developers, it was a requirement that distracted from their ideal vision for their game
Yet, the terminology used to describe these difficulty options had already forged a firm link in players' minds between challenge and pride. Games that did not present much impediment, induce much perplexity, or require much perseverance were seen as somehow lesser work
More recently the imprecise term "video game" has come to house a far broader church of styles, modes and, for the designers behind them, artistic intents. Dear Esther, progenitor of the disparagingly termed "walking simulator", simply asks players to wander an exquisite island while listening to snippets of spoken word poetry.
This broadening of the definition in no way detracted from the sports-like tradition of the arcade games, which typically seek to find the fastest, the strongest, the most skillful players...Nevertheless, some felt that their personal idea of what a video game should be (some kind of elaborately engineered impediment that demands practice and pain in order to sort the men from the monkeys) was under threat.
All the while, difficulty in games was becoming a kind of shibboleth: challenging games were made by experts for 'true gamers'; non-challenging games were made by amateurs for who-knows-whom.
Video game reviewers, that most simultaneously scorned and, by a few naïve youngsters at least, envied group, have been caught in the crossfire. Those writers who through the advent of video, have revealed their ineptitude at challenging games on camera have faced ridicule, calls for resignation, and, in the most extreme cases, harassment. Their critics argue that reviewers should be, not insightful thinkers, but principally brilliant players
But the movement against some game reviewers based on their perceived lack of skill has become a proxy war staged by those who want critics to play the role of guardians of a particular tradition, rather than interrogators of a richly evolving medium.
This battle is founded on a misunderstanding not only of video game history, but also of the role of the critic in the jostle and dance of a maturing form. John Updike, the late American novelist and book critic, once laid out his rules for constructive criticism... The first of these rules is applicable, not only to critics who want to be better, but also for players who want to be better: "1. Try to understand what the author wished to do, and do not blame him for not achieving what he did not attempt."
In other words, the creator of a bullet hell shooter should not criticised for not making her game more accessible for those unable to tuck and weave through the rolling curtain of danger. Likewise, the creator of a ponderous game about death or flowers, bureaucracy or race hate should not be criticised for not making his game an arena in which players can demonstrate their dexterity or quick-wittedness.
video games are for everyone, even if some video games are specifically for someone.