Is it possible for a videogame to be a radical text? Answer through an analysis of one videogame. Introduction

Innumerable novelists, film directors and artists have tackled controversial subjects throughout history and been praised for their products. Even radical pieces founded in far more partisan analysis have opened doors to discussion in difficult topics from genocide to sexuality. They dare to explore realities dark side, and the ugly truths of the human condition. Naturally the controversial nature of a topic can be highly subjective depending on the interpretations of the individual. Generally speaking, the radical nature of an issue is often determined by falling outside the majority opinion of a groups ideology, and as such the words radical and controversial will be utilised interchangeably within this text. Although other artistic forms regularly present provocative pieces, video games seem yet to gain mass acceptance as a creative medium. Is it possible for video games to explore such radical topics in a meaningful way? What is it about games that disqualifies them from exploring this harsh territory?

Section 1: Games as a Developing Medium - Part 1

Much of the backlash against adult content in video games revolves around the continued mainstream public perception of this interactive media as a child’s toy. Fortunately, this opinion has shifted slowly over the lifespan of this still-developing medium. A current example of a game exploring radical topics is the yet to be released Wolfenstein II. Set in 1961, the game explores the possibility of a Nazi-controlled America and the consequences for the lifestyles of those living there. You are placed in a world where the Nazis won the Second World War and are given the task of initiating a Second American Revolution against the Nazi Regime. 

Despite a fascinating analysis of this particular historic outcome, some may find a way to derive offence from the use of Nazi imagery and depiction in a video game. Unfortunately this attack is not necessarily directly towards the content of the game which would not be uncommon in a comparable film or literature, but rather judges the piece based on the medium of choice. This ties directly into the current depiction of video games as suitable for only younger audiences.

Section 1: Games as a Developing Medium - Part 2

The reality may be surprising for many, as the average age of a gamer in 2017 is 35 years old. In fact, the average age has been steadily increasing year on year since the birth of video gaming with arcade machines and the Atari 2600. Over 65% of households own a device used for video games and the average number of years that people have been playing games is 13 years. Despite this, the young gamer stereotypes remain. This may not be entirely surprising however. Most forms of media have endured this slow evolution from their inception to public acceptance. Early film and cinema was often dismissed as a passing fad, or by some, as an attractive evil. Similarly, the spread of comic books can be compared to the gaming industry. Early comics were aimed at younger audiences and were devoid of radical or mature themes. This fact perhaps created the notion that they were incapable of expressing controversial ideas or had no deep artistic qualities. It was perhaps the rebranding of some comics as graphic novels that allowed certain current masterpieces to arise.