Netflix – Michael Elgart

Deep Rock Galactic is a cooperative first person shooter in early access from indie developer Ghost Ship Studios. Players are galaxy-fairing mining dwarves sent on dangerous missions on a hostile alien planet. The missions contain a variety of objectives and types of enemies, and allow for up to four players to play together.

This past year saw a slight uptick in the number of videogames I was able to play. This was particularly possible because I started talking with a couple old friends who often gamed together and they invited me to join them in playing specifically co-op games.

Multiplayer games aren’t exactly foreign to me, as I played World of Warcraft on and off since 2005. However, back then, I didn’t have great internet and I played very casually. I never got into raiding, and so I never really chatted with people on VoIP. I did often do multiplayer with people in the same physical location, and in fact I had a WoW arena team with my brother in high school as we played in the same room, negating the need for voice chat. Since then, I just didn’t play that many videogames cooperatively, and I didn’t have a consistent group. I still played a bunch of single player games, but I tried something new with Overwatch, as I wrote about a couple years ago. That was a lot of fun, but my lack of consistent playing group meant that after Overwatch, I went back to single player games…or Netflix.

This new group opened the door to Deep Rock, and it is spectacular. With the major caveat that I’ve only played the game with people I like hanging out with, Deep Rock seems to check every box you could have for this genre. The gameplay is pretty simple to learn; you shoot aliens and you mine rocks. But once you know the basics, you can start exploring the complexity of the game. There are multiple classes with different guns and abilities. They allow for grappling across levels, creating instant platforms on walls, permanent moving cables, or digging out tunnels through rock. More stuff is being added every month as it is still in early acess. Each class can now undertake quests to upgrade their various weapons which can be swapped out. There is quite a lot of firepower to choose from, with a big rotary machine gun, flamethrower (or ice thrower), shotgun, or even automated turrets, depending on your class.

There are also multiple types of alien bug creatures. Some are pretty standard enemies that run up and attack you. Others are suicide bombers that will stand next to you and detonate. If you know where they are coming from, you pick them off from a distance, but if you let them get close, you better call them out to your teammates who are busy mining rocks or trying to stop other bugs from eating their face off. There are also flying bugs, some that will try and pick you up and drop you far away from your teammates, ranged acid spitters, and giant armored beasts. Some bugs are even attached to shadowy cave ceilings waiting for you to drop under them, where they grab you and pull you helplessly away. Your only hope is for your teammates to blast the leach before you expire. These make for some hilariously chaotic battles.

And that’s not even counting the various types of levels you can play in. Each “ecosystem” on the planet has its own quirks and difficulties, from poison shooting mushrooms to radioactive crystals to giant sand storms that blind you for a short period of time–even in the midst of an enemy wave. The level design itself is beautiful even though I believe every level is algorithmically generated. There are several different missions types, including simple mining missions, missions to collect rare alien eggs, salvage operations where you recover equipment and then use it to escape the planet, and others. My favorite is extraction point missions where you are dropped in an area with many large crystals you must dig out and return to a central location while surviving waves of enemies. Then you have to protect the outpost until the your cargo is rocketed away, and finally battle your way to a rendezvous point.

The cooperative nature of the levels really makes the game for me. Putting up a good fight as aliens slowly surround you is tense, but when one of your teammates is suddenly picked up by a grabber and flown away, the panic starts to set in. There is intensity when making a daring run for one of your downed teammates, throwing up a temporary shield and reviving them while swarms of bad guys surround your bubble waiting for it to disappear. Another fun moment was at the end of a level where we had completed all the objectives, we now had to make it to the extraction rocket they sent. Somehow, the only way over to that part of the cave seemed to include narrow bridges of unavoidable enemies and it was taking too long to deal with them. It didn’t look like we could make it to the rocket before the level ended, meaning all of our work would be for nothing. With 90 seconds left, The digger thought he might be able to burrow straight through 60 or 70 meters or solid rock to get the chamber with the rocket, so we covered him, as tons of giant bugs tried to crawl into our tunnel while he slowly dug it out. We popped out right next to the rocket and got inside before time expired.

I recommend Deep Rock for its fun collaborative environment and interesting gameplay. Its level and mission design is really cool and it’s a pretty fun alien shoot ’em up, too. But the biggest personal takeaway from this game is that adults need to look at cooperative videogames as a medium for social gatherings. Modern society, and the internet in particular, has created a somewhat isolating social landscape. Netflix and HBO and YouTube mean that we live in an golden age of television and creativity, but also that we don’t need to interact with others in person in order to experience it; it comes directly to our devices in our bedrooms or living rooms. Cooperative gaming can act as a virtual social room, placing you at least ear to ear with your friends as you share an interactive experience and challenge. When I play Deep Rock, I don’t think of the time spent as “entertainment”, I think of it as “social interaction”. Even though my friends are thousands of miles away, we are talking about life and hanging out. I see this as a fulfillment of what people thought the internet could be; a place to allow people to connect in ways they could not before.

The Last of Us is a videogame developed by famed studio Naughty Dog, which also developed the Crash Bandicoot series as well as the various Uncharted games. The Last of Us was released in 2013 to extremely positive reviews and is often placed into conversation as one of the best videogames of all time. I didn’t own a PlayStation 3 so I didn’t get a chance to play this game until recently. Despite it coming out 5 years ago, I think it’s still worth writing about because it was just that good.

My favorite high school English teacher used to tell us that what made great authors and artists was their ability to build transformational art. By that he meant great artists could simultaneously do the well known and expected approach extremely well while also building on that and incorporating the new and avant-garde to seamlessly bring the audience towards new ideas. He would always use the Beatles as an example, pointing to their earlier generic pop sound which gave way to their more experimental later albums, but it’s a nice approach to use for almost any analysis of art.

For example, I’ve noticed that many of my favorite superhero movies aren’t really superhero movies at all; The Dark Knight is a detective movie disguised as a superhero movie, The Winter Soldier is a spy thriller disguised as a superhero movie, and Logan is a western disguised as a superhero movie. These movies are interesting because they pushed the boundaries of what was possible with their genre. The Last of Us pushes the boundaries of what counts as a videogame.

Taken solely on its merits as a game, The Last of Us is excellent. It takes aspects of games that are quite familiar to anyone designing a shooter in the early 2010s and does them really well: it’s a survival shooter that takes place in a post-apocalyptic world with zombies. Zombies are a somewhat common trope in horror films but they are heavily represented in videogame media. The zombies in The Last of Us are properly horrifying, varied, and challenging to deal with. It also has you teaming up, or at least working with, a rebel group in this post apocalyptic society against the government’s military rule. There are specific gameplay mechanics that are familiar, such as sneaking around to remain unseen from enemies, various guns that are upgradeable over time, and physical puzzles or obstacles that must be overcome. The “survival” aspect of the game is particularly well done though.

Many videogames have good stories. Half-Life 2 and both Portal games are some of my favorites, but they still have a pretty strict boundary between gameplay and story. It’s fun to check out the story elements and much of it is told through cutscenes, but The Last of Us brings the story in close to the gameplay. You are constantly aware of the post-apocalyptic world around you, and not just through the beautiful level designs of real American cities in ruins, but also because you are constantly running out of materials. You find a shotgun, blast some zombies triumphantly, and then quickly realize you are out of ammo and have to switch to a low power handgun. Maybe you have time to duck behind some cover and swap out the hunting rifle so you can use those last three bullets before you’re forced to start bashing heads in with metal pipes or scraps of wood you find, which also eventually break. It’s almost always a good idea to stealthily dispatch as many enemies as possible, both to reduce the number of enemies and to conserve ammunition. Even other items like shivs and health packs are all constructed from collected materials, and making more of one might preclude you from making more of others. The feeling of scarcity is omnipresent, and improvisation is vital to complete most levels.

The gameplay is also well varied. The story of The Last of Us revolves around Joel, a deadly smuggler, transporting Ellie, a girl who is immune to the zombie disease, to the underground resistance. Throughout this journey, there are different types of enemies which require different strategies, but also different types of encounters. There are areas where you are alone, areas where you have a support, and areas with other characters who you must protect while they are somewhat unhelpful to you. These are well incorporated into the story, as early on, Ellie is unknown and not given any weapons. Her presence on levels is not very helpful, and the gameplay helps to contribute to the player’s slight resentment. Eventually she gets a rifle and starts helping you, which makes the player appreciate her more. Other interesting levels include the first level, where you play as Joel’s daughter on the night the outbreak gets out of control. This is also the first big twist (spoilers ahead), as she is unceremoniously killed once you finish the level, taking a page out of Game of Thrones‘ script. This makes you pretty sympathetic with Joel’s character as you feel his helplessness, after all, you were just controlling his daughter and there was nothing you could do to save her.

Other interesting levels include one where you have to avoid a sniper, sneak around with very limited cover, dispatch men as they charge your position, all while advancing on the sniper as you slowly run out of ammo and materials. Then you take the sniper position and cover the advance of your friends as more enemies swarm them. There’s also a situation where you accidentally trigger a trap meant for zombies and have to protect Ellie while hanging upside down from your ankles.

As I’ve stated, the story benefits well from the integration with the gameplay. But the storytelling itself is one of the best cinematic experiences I’ve seen. It changed how I imagined a videogame could tell a story. The voice acting creates emotional and broken characters who you want to see triumph. And while the gameplay helps to emphasize the desperation and difficulty the characters face, the story is brutally dark in its outlook, constantly putting the characters in harsh situations or even killing them off. Joel’s difficulty in making himself emotionally attached to anyone after the death of his daughter is explored really well. Additionally, the sound design and music is also excellent.

But of course, the most interesting part of this game was the ending. Joel and Ellie go through a lot in their adventure. They lose a lot of friends, and they are hunted by people of all sorts. Nonetheless, if you take the gritty realism of the game seriously, you murder dozens of people over the course of the game. These others are often pretty gross people. In Pittsburgh, they are set on by “hunters” who try to ambush them. You then proceed through several levels and likely kill about 30 people. Is this proportionate? Is this ok because it’s a videogame? It’s not like you have much choice, even if you sneak by people, you’ll still have to take out a lot of others, all of whom will kill you on sight. But towards the end of the game, Joel is injured, and you have to play as Ellie to try and save him. Again, Ellie is trapped and has to fight her way out. She’s faced with being captured, possibly raped or eaten by cannibals, so anyone she kills is probably justified, but it’s pretty dark.

Finally Joel and Ellie make it to Salt Lake City and find the Fireflies (the resistance). Of course, the Fireflies believe they can create a vaccine for the zombie infection…which they would need to kill Ellie to obtain. Upon hearing this, Joel cannot bear to lose the one person he has finally allowed himself to care about, and fights his way back to Ellie. It’s possible to do this level while only killing a couple Fireflies (but you always kill their leader at the end). I was not great at stealth, so I ended up killing about 20. Mostly with the flame thrower. Joel takes Ellie back to his brother’s compound, and lies to her about the Fireflies when she wakes up, saying they didn’t need her help and they couldn’t find a cure.

Joel isn’t a hero. Yet his actions are at least understandable to the player and we’re left wondering what we would have done in a similar situation. And while it’s uncertain whether the Fireflies could have found a cure, they were not interested in Ellie’s consent or buy in; Marlene (the leader of the Fireflies) was Ellie’s friend and ordered her killed for the greater good. Of course, Joel didn’t ask Ellie what she wanted to do either, he just lied to her. And having already killed Marlene perhaps he felt he couldn’t go back even if Ellie was willing to sacrifice herself. Ellie is also only 14, so should she have the ability to make this decision? It would be questionably ethical to let a teenager make such a decision today, but who knows what rules to apply in the apocalyptic world of The Last of Us. This ending is remarkable and differs from the videogame tropes we are used to seeing. It is truly ambiguous, and emphasizes there are no heroes and villains, there are just people trying to survive.

In the sci-fi novel Ready Player One, there’s a proposed technology that would allow you to play a film as a first person character in virtual reality. The hero plays through both Wargames as Matthew Broderick’s character and Monty Python and the Holy Grail as King Arthur. While amusing for the audience, this would seem to a highly limited and uncreative use of such VR technology. After all, art made for a certain medium is probably best in that medium; a first person VR cinematic experience would probably be much better if the scripting and events were made specifically for a VR platform. The Last of Us is a real life example of this science fiction concept: a story-driven experience with many aspects of a film, yet tailor made for the videogame medium. It isn’t the first “movie as a videogame” but it is the most impressive exercise in expanding how interactive stories are told. It is transformational and is changing the way we consume media; there’s no longer a stark difference between a long YouTube video, a TV series, and a feature film. Netflix hosts all kinds of shows from Comedians in Cars Getting Coffee (about 15 minutes an episode), to Ken Burns’ The Vietnam War, which is 10 episodes ranging from 82 to 114 minutes each. The future will include the telling of stories in many genres and media, and I’m excited to see how videogames continue to contribute to that storytelling.