The More You Know

Since the genesis of video games, certain developers have taken it upon themselves to include messages within their games. These messages can be obvious or hidden, and tend to be positive and can sometimes be controversial. The definition of games with messages for this discussion will be games that released on a major console that included an obvious, positive message and are NOT categorized as edutainment. The reason for this is that console games require a license and are therefore screened, and console games tend to have more financial backing thereby giving them access to the mainstream market. Messages in video games are akin to product placement; they are subtle yet pervasive and synchronize with the theme of the game. Are video games a good vehicle for the dissemination of positive messages? I will argue that video games actually serve to dilute the message due to the fact that that gameplay and storyline take priority.

Advertising, regardless of the delivery vehicle, is meant to generate or enhance recall. In short, recall is what causes buyers to pick one brand over another when they are unsure, indecisive, new, or looking to switch brands. However, positive messages such as saving the rainforest, recycling, protecting endangered species, and animal cruelty require a much higher investment on the part of the viewer. These messages require constant action and engagement and therefore are less likely to be remembered using traditional, passive methods.

Throughout video game history there have been a handful of games that have attempted to deliver a message or generate awareness around a particular topic. While the titles depicted here are of above average caliber in terms of gameplay, they do a poor job delivering a concrete, lasting methods. The analysis of these older games, before moving on to recent titles, will show that the delivery of these messages is hindered by the medium of games and not by hardware or graphical limitations. Growl (Sega Genesis), a beat’em up developed by the Taito Corporation, has the player, a member of the Protectors of Animals’ World Society (P.A.W.S.), defeating a nefarious poaching and smuggling syndicate known as the Rendow Animal Protection Organization (R.A.P.O.). While saving oppressed animals is a noble task, this message is tainted by the extremely brutal portrayals of 16-bit violence. For example, after you save an elephant, he tramples around the screen for three minutes killing all your enemies which explode into 10 pieces under his foot. Also, the first enemy you kill in this game is a woman. Lastly, the final boss of this obscure title turns out to be an alien worm parasite that hid in a human body to control all the poachers. The violent gameplay paired with the odd ending sends mixed messages, thereby leaving the player remembering the quote, “Get lost you wisp!” in lieu of the “save the animals” message.

Kolibri (Sega 32X) and Ecco Jr. (Sega Genesis) were both developed by Novatrade, the creators of Ecco the Dolphin. Kolibri is a very unique shoot’em up requiring the player to save the Earth using a hummingbird imbued with Earth’s power. Ecco Jr. is a toned down, kid-friendly game featuring facts about dolphins and a light-puzzle solving adventure to save the oceans. These two games feature completely different gameplay but share the same themes: they want to make you aware of the beauty and fragility of nature. Kolibri and all the Ecco titles portray the Earth as a living, sentient being. The majority of Kolibri’s manual displays information about hummingbirds, their lives, their habits, and how to build a hummingbird feeder. These aforementioned games serve as poor vehicles because their gameplay mechanics and storylines are too far detached from their message.

Eco Fighters, or Ultimate Ecology in Japan (CPS-2), is an obscure shoot’em up created by Capcom. This game features renegade ecologists, led by Dr. Mori, that fight against pollution on an Earth-like planet. These ecologists use a ship to fight against an evil corporation, a corporation which has every legal right to be on the planet. Once again, the message is lost on the player due to the gameplay and storyline. Dr. Mori even advocates eco-terrorism in his line, “We must fight pollution, whatever the cost!”

Now I will move on to three recent games that will show that, although technology has improved, developers still cannot deliver a clear message and entertainment simultaneously. Finny the Fish and the Seven Waters (PS2) delivers mixed messages. On one hand, the in-game characters are very much against fishing. Conversely, all the lures Finny can collect are actual, licensed fishing lures from Japanese companies. Also, after Kappa the Turtle forces Finny into servitude, he tells him that he must eat to survive. He even says, “Your prey’s will to live is a strong as yours. They will put up a fight.” He actually makes the player feel bad for eating small fish. This is a title aimed at a younger generation that showcases that it is difficult to achieve a balance between generating awareness and entertaining.

Herdy Gerdy (PS2) is an interesting tale of courage, competition, and saving the world through the eyes of a little boy. This game was developed by Core, the same team responsible for Tomb Raider. In this game the player guides Gerdy through the world as he begins to understand himself and his bond to nature. This is a “world where animals have thoughts, feelings and personalities that you must learn to understand and influence.” (Herdy Gerdy synopsis on back of box) This title features absolutely no combat, and the goal is to herd all the animals unharmed into their respective pens using magical herding tools. This eco-friendly title is presented in a beautiful style of animation that captures the personality of each creature.

The final title in this analysis is the hilarious platformer, Whiplash. This title chronicles the escape of two test-lab animals, Spanx, the stupid weasel and Redmond, the intelligent hare. Redmond has been chained to Spanx’s arm allowing him to be used as a weapon. He is also indestructible due to being repeatedly sprayed by mega-hold hairspray. Naturally, the enemy in the game, FD Mann, and the Genron Corporation are made out to be the pinnacle of all evil. Crystal Dynamics actually received criticism from some groups claiming they made light of animal testing. Crystal Dynamics ensured them that this would help raise awareness for the issue. Whiplash actually does a commendable job of reinforcing the “evils of animal testing” message throughout the game. The player receives bonus points for freeing fellow inmates and destroying Genron property. Nurse Carol Ann, an ally in the game, is a Genron employee who has become sickened by the animal testing. Although this is a fun and witty game, it still is not able to fully deliver its message. It is difficult to broach a serious subject with laugh out loud humor. It would be akin to making a hilarious Susan B. Komen flash game.

Attempting to generate awareness or garner support for a cause is a difficult task to accomplish using a console game as a communication vehicle. If a title were to be an obvious an anti-war plug and lacked entertainment, very few people would be willing to play it. No one has yet to find an ideal balance between their pitch and the entertainment value of their game. Thus the message is often diluted or lost altogether when attempting to use a video game. Console games require a heavy investment of time and money, therefore I believe these messages will continue to be communicated poorly as storyline and gameplay must take priority.