The last few years have seen the rise of numerous high-brow channels dealing in all sorts of longer video essays: plot discussion, development histories, design analysis. With a quarter of a million subscribers, hundreds of thousands of views per video and a well-funded Patreon campaign, Joseph Anderson is one of the most popular and successful examples of this new, intellectual side of Youtube. He’s supposed to be one of the good ones. And yet, I was shocked to discover that his writing is the equivalent of a salty Steam user review inflated to comical proportions.
The truly shocking part, however, is how perfectly this meandering, consumer-focused take captured my experience with games criticism on Youtube in general. So often I find myself clicking on one of the videos recommended to me both by algorithms and actual human beings only to discover that the author has no clear argument, shows no interest in the themes of a game, no understanding of how games are made or who makes them, no understanding of the difference between conjecture and textual evidence, no understanding of how to navigate the tension between authorial intent and emergent narrative - to name just a few of the standards I personally try to hold myself to as a critic.
To give you an idea of what I mean, I’d like to talk about one particularly widespread argument that represents one of my most common frustrations with game critics on Youtube. At the beginning of the video, Anderson intersperses clips from Subnautica with scenes from The Martian, saying that while a film can show you somebody who is lost on another planet, only a videogame can you truly put you in the shoes of that person. In his words, “the experience offered by Subnautica is unique to videogames”.
Kommentare
Anderson
Greats article!
Can you please elaborate your critic of Anderson just a little bit and give an example? I know, he spends too much time on mechanics and statistics, but I don't think that's reason enough to dismiss his POV completely. On the other hand his last videos left me kind of unconvinced, and I'm not sure, why it's lost its appeal.
Again, thank you.
Airing my Grievances
I deliberately kept this part pretty short since I didn't want to spend too much time dunking on a guy who really just serves as a good example of larger trends, but I can certainly elaborate on my misgivings if necessary. I complained about the aspects he chooses to cover at length (performance issues, perceived plot holes and gameplay optimizations), but those are not necessarily a problem in and of themselves given proper execution. My main problem is this: I consider it one of the key skills of a critic to reflect on the expectations they bring to an artwork, so they are aware of their own standards (and their implications) and can articulate why something does or doesn't meet their taste. I can't speak to the rest of Anderson's work, but his video on Subnautica does not demonstrate this ability.
It's grating anytime you hear some gamer dude speak with absolute misplaced confidence about technical issues like framerates or draw distance, but I can understand wanting your game to run smoothly. Where it really gets bizarre is when Anderson complains about the fact that the two islands in the game are obscured by fog from far away (instead of being rendered at maximum detail at all times). Even his own commenters pointed out that being able to see them from your starting location would completely mess up the intended progression of the game, as players would likely swim straight towards land instead of exploring the ocean around them. Basically the entire video works like this: he picks apart some minor issue and then lays out some hypothetical, poorly considered improvements: a new plot structure, a cleaned-up inventory management system, a fleshed-out endgame.
I'm not saying it's wrong to take issue with any of the things he takes issue with. I'm saying it's not particularly insightful to make the point that this game would be better if it looked better, ran better, had a better plot, better gameplay, a bigger world, etc. etc. It's easy for Anderson to ask us to imagine this fictional version of the game when he's not the one who has to bring all of this different elements together. His version of Subnautica could be plucked from one of those forum threads where people describe their vision for the ultimate game ever: a huge world, but all of it is hand-built and every NPC is unique and they all have custom dialogue and you can do whatever you want and there are robust systems behind all of those activities and you have total freedom but it still has great pacing and its easy to get into but still interesting after 1,000 hours. Okay, great, but that game can never exist because a) nobody has the resources for a such a monumental undertaking and b) some of these qualities are irreconcilable.
If Anderson had a better understanding of what he personally was looking for in the game (and grasped the basic concept of developers having to work with limited resources), he could focus on the specific things that are absolutely necessary for his specific vision. Instead, he defaults to a lot of unspoken gamer assumptions (60 hours of gameplay at 60fps = good game) and is seemingly unaware of the contradictory nature of a lot of his expectations (he wants the game to run smoother and he wants a boatload of extra lategame content).
Alternatively, this could also be avoided if he approached the game by trying to understand what the developers where going for, but he seems comically inept at navigating authorial intent. At some point during the video, he expresses his view that the team behind Subnautica (people who spent months of their lives creating dark caves and filling them with otherworldly sea creatures) may have "accidentally" made the game scary and I can't even.
Kleines Lob Andersons
(Es tut mir leid, ich wechsele hier mal zu deutsch, mein geschriebenes Englisch ist zu schlecht ...)
Hey Joe, vielen Dank für deine Antwort. Das ist, glaube ich, genau der Trend, den ich meinte, der in Andersons letzten Videos erkennbar ist und der diese so schrecklich belanglos macht. Seine "Tipps", wie ein Spiel angeblich verbessert werden könnte, empfand ich in den früheren Videos als Form konstruktiver Kritik; jetzt nervt's nur noch. Und du hast völlig recht damit, dass Anderson sich wohl selbst nicht darüber im Klaren ist, was er eigentlich will.
Ich glaube, ich mochte die früheren Videos von ihm, weil er Talent dazu hat/hatte, das Ganze eines Spiels in den Blick zu nehmen und bestimmte Grundmechanismen bis zum Ende hin zu verfolgen. Mir fehlen ein wenig die Begriffe, um das adäquat zu beschreiben; ich würde sagen, er arbeitet teilweise ganz gut heraus, wie die Spielmechanismen in der Summe die anvisierte Spielerfahrung ausbremsen oder konterkarieren.
Ich mag das "No Man's Sky"-Video (https://youtu.be/Kd8vLJ66Vhc): Natürlich kann man ihm hier vorwerfen, dass er der eigentlich gewollten Spielerfahrung - visuelles Erlebnis fremdartiger Welten usw. - nicht gerecht wird, weil er das Spiel bloß als eine Art lineares Survival-RPG betrachtet. Andererseits ist es nicht unberechtigt, die Rechnung aufzumachen, wie viel Zeit ein Spieler mit den immer gleichen Tasks verbringen müsste, um das Ende des Spiels zu erreichen und wie stark die Spielmechanismen die intendierte Erfahrung begrenzen oder sogar dazu im Widerspruch stehen (etwa wenn man sich in NMS *de facto* nie sonderlich weit vom Landeplatz entfernt oder *de facto* das Sammeln von Ressourcen ein Selbstzweck ist oder *de facto* keine der "fremden" Welten je unbewohnt ist oder man *de facto* das Zentrum der Galaxie nie erreicht, sondern einfach respawnt usw.).
Im Vorfeld eines seiner neueren Videos, der Kritik von "Super Mario Odyssey", hat er eine ähnliche Rechnung aufgemacht, indem er alle 880 "You got a moon"-Animationen zusammenmontiert hat (https://youtu.be/wmDs_fuVi2c). Das ist natürlich albern und keine ernsthafte Auseinandersetzung, und auch sein SMO-Video (https://youtu.be/kYJx5xt2cB0) fokussiert viel zu sehr auf Statistiken und Technikalitäten usw., und ist daher insgesamt ziemlich öd. Einer seiner Kritikpunkte hier ist aber, dass die Monde in SMO aufgrund ihrer unsystematischen, willkürlichen Platzierung keinen echten Win-State und Fortschritt repräsentieren, obwohl das Spiel dies gleichzeitig durch die Einspieler permanent suggeriert. Und ich mag, glaube ich, dass da jemand sich die Mühe macht, den empirischen Beweis herzustellen, dass ein SMO-Spieler *de facto* rund 1,5 Stunden der Gesamtspielzeit damit verbringt, Belohnungseinspieler zu sehen. Das ist sicher keine ästhetische Spielkritik, aber als ironische Konsumkritik kann man das doch gelten lassen.
(Hm, gerade muss ich an die Doktorarbeit von Christian Wagenknecht zu Karl Kraus denken, in welcher ersterer seitenlange Statistiken zur Rhetorik des Wortspiels bei Karl Kraus (so auch der Titel) abdruckt - und daran, dass diese Doktorarbeit für mich immer den Inbegriff akademischer Erbsenzählerei darstellte.)
Übrigens beschäftigt sich Anderson nicht nur mit Technik: Sein Edith-Finch-Video formuliert eine, wie ich finde, interessante, diskutable Interpretation der gesamten Erzählung (https://www.youtube.com/watch?v=6bMn4CoyUkM), ohne dass er dabei, soweit ich mich erinnere, sonderlich auf die Technik einginge.
Soviel zur kleinen Ehrenrettung zumindest des Frühwerks J. Andersons.
Upholding standards
I think the main problem on Youtube is that standards are not made clear and only few people/critics try to uphold any rules or any journalistic form which are much more established in older media. No one even cares if something is journalistic, essayistic or just some random form of opinion. They just do want they think works best and gets them views. For us critics/journalists, it comes down to curate and support creators who are skilled at doing videogame critique and actually have established their own rules and can uphold them properly. (Your knowledge of interesting video personalities who do games critique on Youtube is astounding, by the way, I've never heard of most of them.)
Another thing about ludology and videogame exceptionalism (I like the term): I wouldn't completely dismiss the notion that videogames are indeed exceptional in some way. I understand the urge to bash out towards the complete opposite side and not even approve of any speciality, but giving videogames no credit at all for their unique composition of interactivity, writing and audiovisual presentation is ... harsh, to say the least ;)
Thanks for the great article
Thanks for the great article and also the follow up in the comments!
Videogame exceptionalism really is a good term for describing this and other trends. One example, for a long time I liked the reviews of TotalBiscuit, because he focuses a lot on the mechanics of a game, e.g. are the core mechanics fun and is the game entertaining. But since he also favours competitive games a lot, he is a good example for the "games are only for real gamer" stance, he calls them core gamers. This and the whole "PC Masterrace" bullshit are remnants of this phase of videogame exceptionalism, that completely ignores the changes in the medium, the market and game design that occurred in recent years. I fear we will have to bear with that for several years to come, since Youtube really benefits the creation of solitary filter bubbles, as you correctly pointed out.
I want to end my comment by adding another great long-video essayist on Youtube to the list, Noah Caldwell-Gervais. His videos are thoughtful and focus a lot on the background and the impact a game has on society and mixes this with personal experiences and observations about the (US) society.
I understand that he spends
I understand that he spends far too much time on mechanics and statistics, but I don't believe this is sufficient cause to discard his point of view entirely. On the other hand, his most recent videos have left me rather dubious, and I'm not sure why.
Check to read the Evolution of PC Games or learn why PC gaming is better.
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