FPSs & Why We Need To KIll : Part 1, 2
Contra-style games would then, in the 90s, develop into the dark-fantasy world of Wolfenstein, Doom and Quake, games that again give the trigger / bullet mechanics and the satisfaction of destruction but whilst clearly staying clear of anything close to politics (whilst WOlfernstein involved Nazis one would struggle to deem it to be of political relevance). Indeed, the most realistic the average shooter got was in Hollywood-esque tales of spies and espionage, most notably achieved with Rare’s two titles Goldeneye and Perfect Dark and with games in the Tom Clancy series, like Rainbow Six.
Of course, there are a few exceptions to this rule, most notably in EA’s Medal of Honor series (starting in 1999) which set the player as a soldier in World War II. Here, realism certainly was a key, but the realism, the war, was distant, now being some fifty years ago. So it was that, aside from the occasional controversy seeking titles, gaming had kept itself away from the politics of war.
Then 2001 changed the rules of gaming just as it changed the face of the rest of the planet. The terrorist attacks of that year, at least for this author, seemed to speak of one truth above all others: Politics affect everyone. The loss of innocent civilians at that time brought war home in a way that had not happened since the great wars. It made the fight for freedom, justice and the protection of ourselves and our loved ones the fight not just of the forces, but of everyone. Born was the desire in us all to make a real change in the world, to ensure that no evil could harm our families, our loved ones, our countries.
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