This article focuses on memories of the past and moral values in the video gameMetro 2033: Redux (4A Games / Deep Silver, UA/AT 2014). The game, situated in a postapocalypticMoscow and based on a ...book by the Russian author Dmitry Glukhovsky,is focused on the adventures of Artyom, with whom the player identifies, in the metrosystem. On their journeys, players face different situations and decisions, to whichthey can choose how to react. Furthermore, in this dystopian world the player notonly travels through different tunnels, but also encounters memories of a lost pastand different belief systems. Unbeknownst to the gamer, almost every segment of thisjourney holds an invisible moral evaluation, which will grant the player “moral points”if passed. The balance of moral points then defines the possible endings of the game.Drawing on approaches in the study of historical narratives in video games, this articleanalyses the romanticisation and criticism of the past shown in the game as wellas the various categories and situations in which moral points are awarded, exploringhow they are related to moral values and how they affect the gaming experience. Inaddition, characters with different belief systems are present both in the book and, toa limited extent, in the game, and this article will reflect on the representations androle of beliefs throughout the Metro series.
4A Games’s Metro Redux (2014) plays at the intersection of literature and video games. The suite consists of two games, the first of which (Metro 2033) was based on the self-published novels of ...Dmitry Glukhovsky: Mempo 2033 (2005) and Mempo 2034 (2009). The games, like the novels, are set in the metro system of Moscow some 20 years after a nuclear apocalypse. Remnant communities, forced underground, congregate in stations that function as nascent city-states. Some stations are independent and unaligned, while others have formed factions (the mercantile “Hanza,” the communist “Red Line,” and the fascist “Fourth Reich”). A powerful central coalition, “Polis,” through the agency of its “Spartan” field agents, seems alone in its attempts to bring order to the metro and recolonize the ruined city above. But Polis and the Spartans are not the only such elements in Metro Redux, and players are quickly immersed in a landscape of Soviet neoclassicism, itself a polyvalent and highly politicized 20th-century Reception. This article will begin to explore what such receptions of Reception might mean. Does the Classical pulse, transmitted across multiple media, degrade to a point of white noise, meaningless and unintelligible? Or can we still find significance in the variation of reflection and transmission?
Teknolojik gelişmelerin sonucunda, daha yaşanılabilir bir dünya söz konusu olsa da, zamanla bu durumun olumsuz etkileri de ortaya çıkmıştır. Bu olumsuz etkilerden biri de, doğaya verilen zararların ...distopik bir geleceği beraberinde getireceği düşüncesidir. Bu düşünce, dijital video oyunları içerisinde de kendine yer bulmuştur. Bu çerçevede, insanoğlunun doğaya verdiği zararlar, nükleer felaketler ve savaşlar; dijital video oyunlarında sıklıkla işlenen bir tema olmuştur. Söz konusu bu durum, geleceğe yönelik bir korku durumunu beraberinde getirmiştir. Bu korku durumu, biz ve ötekiler arasında bir ayrışmayı da zorunlu kılarak, post apokaliptik dünyada distopik bir yaşamın izlerini de taşımaya başlamıştır. Bunun sonucunda, post apokaliptik dijital video oyunlarında, distopik yaşama yönelik bir ötekinin oluşturulması söz konusu olmuştur. Genel bir anlatımla; distopik bir dünya çerçevesinde, post apokaliptik temalı gelecek kurgusunda bir öteki yaratılmaktadır. Yaratılan bu öteki, derhal yok edilmesi gereken bir varlık olarak sunulmaktadır.Bu çalışmanın temel çıkış noktası; post apokaliptik dijital video oyunlarında inşa edilen ötekini yeniden düşünmeye yöneliktir. Bu amaçla, Metro 2033 adlı dijital video oyunu araştırma kapsamına alınarak, nitel araştırma modellerinden durum analizi modeliyle desenlenmiştir. Elde edilen veriler ise; Barthes’in düzanlam ve yananlamsal göstergebilimsel çözümleme yöntemiyle analiz edilmiştir. Bu çalışmanın sonucunda; biz teknolojiye sahip, ötekilerden kaçarak ve hayatta kalmak için heterotopik bir alana yönelmiş karakterler olarak kurgulanırken; ötekilerin ise, teknolojiden yoksun, ilkel, tehlikeli, ürkütücü, yabani yaratık veya kurgusal hayvani bir varlık olarak inşa edildiği tespit edilmiştir.
As a result of technological developments, although a more livable world is in question, negative effects of this situation have emerged over time. One of these negative effects is the idea that harm to nature will bring a dystopic future. This idea has found itself in digital video games. In this framework, the human damage, nuclear disasters and wars; It has been a theme frequently handled in digital video games. This situation brought with it a fear of the future. This fear situation, by necessitating a separation between us and the others, began to bear the traces of a dystopian life in the postapocalyptic world. As a result, in postapocalyptic digital video games, the creation of another for the dystopic life has been in question. In a general expression; Within the framework of a dystopian world, another is created in the post-apocalyptic-themed future fiction. This other created is presented as an asset that must be destroyed immediately.The main starting point of this study; is intended to rethink the other built in postapocalyptic digital video games. For this purpose, the digital video game called Metro 2033 was included in the research and was designed with a situation analysis model from qualitative research models. The data obtained are; It was analyzed by Barthes’ method of arrangement and combustion, semiotic analysis. As a result of this study; while we are constructed as technology characters, escaping from others and turning to a heterotopic field for survival; others have been found to be built as a primitive, dangerous, spooky, wild creature or fictional animal.
Mit Metro 2033 – dem 2007 auf russisch erschienen Erstlingswerk von Dmitry Glukhovsky – und Metro 2034 , dem brillanten Nachfolger, wurde endlich wieder frischer Wind in das Gerne des ...„postapokalyptischen“ Romans gebracht. Mit den vorliegenden deutschen Fassungen und der Umsetzung in einem herausragenden Computerspiel können nun auch LeserInnen und/als SpielerInnen im deutschsprachigen Raum das das multimediale Grauen von Metro in analoge und digitale Erfahrung bringen. Gelingt das Kunststück die fesselnde Atmosphäre des Buches in die Videospielfassung zu transportieren?
PDF