Our hero is tougher, and survival through the game’s 10 hours is all but guaranteed. Like so many modern games, it is easier than those before it. To those fingers, the new DmC is familiar, though less stressful than its predecessors. What’s more blood-boiling these days than that? I have absolute power.” We will later learn that he controls his own 24-hour news channel. He turns to a haggard, skimpily dressed woman and boasts: “Soon I will own everything worth owning. He surveys an array of monitors that show offshore drilling platforms. We’ll eventually know the bald man as Mundus. A barrel-chested bald man in a general’s uniform completes a cellphone call with a president he has just threatened to blame for the ruin of the economy.
The new game DmC at least tries.ĭmC’s opening moments stand out. It is apparently hard to concoct an experience that enables players to punch the global economic downturn squarely on the jaw. They have, via game controllers, a chance for catharsis.īut many mainstream games, steering clear of almost all social commentary, have remained preoccupied with the hell of war, the coolness of aliens and the ever-present danger that someone out there might want to kidnap Super Mario’s girlfriend, Princess Peach. These bad guys are the evil-of-the-moment that we might most want to see punched in the face: Soviet masterminds, drug dealers, Silicon Valley moguls, terrorists, media barons.Īction video games seem to have an advantage over movies here. Their villains represent our fears, or at least those that the filmmakers presume we have.
Action movies illuminate the anxieties of their age.
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