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Red Dead Redemption 2 is a masterpiece at all levels. From gameplay, to design, to history and to performance. And yes, there is violence. A lot of that. Six months after its release, it's also the only game to make me question the violence of the gameplay itself. Whether it's good, bad or somewhere in between.
Arthur Morgan, Red Dead Redemption 2The protagonist is a man with a violent past. Step by step, he walks his long way of redemption and strives to make peace with his nature. Morgan's story stays with you, an experience that has more in common with Heart of darkness or unforgiven, with excellent books and movies about violence, that with other video games. Mentioning a video game in such an enterprise is an important call, but it is appropriate.
With Red Dead Redemption 2Rockstar developer has created something that will withstand the test of time. Not only did they do it, but they made it available to a new audience that might not feel the need to sit down and read Conrad or Melville.
When he came out the turmoil of violence in video games still rang. Calls for prohibition and censorship have been strong. But would you like to strip these other works of art of this same violence? I would say that it would reduce their impact. So, that begs the question. is Red Dead Redemption 2 just another violent and stupid video game? Or is it a striking and cleverly woven meditation on violence and its consequences?
With over 275 perfect scores and 175 Game of the Year awards, it's hard to argue that this game was anything but revolutionary. Of course, the online mode does not seem to enlighten the world, but the solo campaign is one for all ages.
At the moment you enter Red Dead Redemption 2 history and the world are engulfing you. The snowy and crispy details of the opening chapter, from the tropical hell hole of Guarma, to the bustling streets of Saint Denis. The details of this game are unparalleled and are just a small element that shows how well this artwork is designed.
It is extremely violent, there is no panic to do. It's a game where you can feed people with alligators, killings, robberies and commit countless atrocities. But it's also the first game to connect and question the character, story and experience of the players.
The complex narrative is obvious and deeply covered for a while now – The last of us, God of the war, The dead who walk – but Rockstar, in particular, has been an interesting company in the field of violence. Grand Theft Auto 5for example, felt almost like a tongue in a cheek joke, covered in satire.
I remember laughing twice in the game when you felt Rockstar talking to the player. "You're messed up having liked this game." But it was just that, a little laugh and a passing moment. Basically, this was not done with the story or the characters. There was little consequence.
Do the Dutch seek the "solution" or is it an additional excuse to motivate the cycle of violence?
Red Dead Redemption 2, even from the first trailer, felt different. It is a long and slow descent into the imminent destiny of our main character. This path was not that of the players but was already drawn, but the actions en route are related to this trajectory. As Arthur questions the decisions, the player does it too and at the end, and that leaves a real mark.
You start running, botched work not under your control. It was the decision to end all the catches but instead it cost the Van Der Linde gang members their lives and pushed the survivors to fight for their survival. Dutch conductor Van Der Linde as a character is Arthur's perfect counterpoint. His motivations for violence are all fueled by the validation of doing so for the "family," the gang. His charm and confidence are difficult to discuss, a true leader. You know that Arthur has never questioned this logic.
This changes however. Flight after shot, murder after murder, the hole you are in becomes bigger and bigger. Arthur doubts Dutch's motives, charm and confidence disappear. Is he looking for the "way out" or is it an additional excuse to motivate the cycle of violence?
An artist master weaves together the elements of the format at his disposal. Rockstar's game design is just one of those elements that contribute to storytelling. The slow burning and the time to think are not just for pleasure; this has a purpose. With limited options to travel quickly and advance, he leaves the player alone. The game would prefer that you browse the map, browse the landscape, absorb everything. Give you time and space to contemplate your actions, those taken and those to come.
Have you seen a chance to win an extra dollar and steal the general store? Did an innocent passer-by embarrass? Usually, we quickly miss the mission, but you sit on it. The money stolen from your pocket, the blood of those who have bothered you, rests a lot on your hands.
The detail of this game is really a show, even a secondary activity like hunting and camp supply. The camp of the band is designed to reward the players who provide the others, bringing food to the camp playing the most important role. Game hunting is a necessity, and its design helps to bring violence back to the fore. Just as gambling takes you away from time spent on a trip, when you are out hunting, you can not ignore the stripping of the animal. So, even if you provide the camp, these actions have a cost and consequences.
The game never abandons the central themes. Even the secondary missions that seemed disconnected are related to Arthur's fight, but it's the contrast of their results that makes it so striking. Without spoiling them completely, two stand out. "Charlotte the widow" and the aptly named "Do not look for absolution". Rockstar makes no statement about good or bad, good or bad. Just because you make the right decision does not mean that you cancel a previous bad action. But backwards, Arthur's skills and violence, albeit in a different context, can have a positive impact on others.
It is this nuance and mastery that leads Arthur and us to an appropriate conclusion, a violent sum of all its parts. Your actions in the game have an impact on the outcome, but only slightly. What's left is the trip that took you there, and it's a journey I can not wait to get back to. It's easy to put a video game aside for thoughtless entertainment, but that's not the game. So, if you do not want to, listen to the violent story of Arthur Morgan and Van Der Linde Gang. And then see what you think.
Tom Phillips is a writer and producer based in Adelaide who invents things and puts them on paper. He tweets at @phillipstw
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