WWW.LEVELSTORY.NET
1
WWW.LEVELSTORY.NET
3
Praise for Level Story Issue #4: Life is Strange Haven’t read [this] yet, but maannn, there’s a lot of effort that goes into this magazine and I can appreciate it! - Aeromatic_YT on Reddit I took a quick look through this and there’s some really good stuff here. I expected a lot of talk about how poignant the bay ending was and instead there was a ton of criticism there. You actually did your homework... The article on the problematic relationship the game has with its queer relationship was also excellently written... And I loved the line about how Life is Strange is about the lives of women and how men interact with and threaten them... I’m going to bookmark this to do a more in depth read but well done. - MagicTheAlakazam on Reddit
4
APRIL 2020 | LEVEL STORY
FEATURES Assist Mode pg. 16
Examining the thematic resonance of Assist Mode in Celeste.
Harmony Between Story and Gameplay pg. 20
Thinking about ludonarrative dissonance and how Celeste creates perfect harmony between narrative and gameplay.
p.16
10 // Story Overview 12 // Music in Celeste 14 // Madeline vs. Herself 24 //When a Game Isn’t Fun 32 // Kingdom Hearts 3 Re:MIND
p. 14
p. 20
LEVEL STORY MAGAZINE MISSION STATEMENT Storytelling in video games is getting better and better with age. What began as simple forms of combat, exploration, and journey missions, has evolved into something much more sophisticated than once allowed. No longer are we content to only be concerned with gameplay mechanics. Although gameplay is really important, the gaming community also cares about other attributes such as style, design, musical score, and of course story. As time has passed, video games have steadily begun to provide well crafted stories to accompany their gameplay. But unlike mediums such as the novel or film, video games are not well respected and therefore are not considered to be an art form. They began as a series of objectives for the player to immerse themselves in. It was only as the technology developed that creators began to challenge the mediums original intent. Video games are still tainted with the taboo of mediocrity that many find to be silly and for the immature. This is an outdated notion. Video games, new and old, are important. Stories are important. All stories regardless of the medium are worthy of study. My goal is to examine the stories that exist in classic and modern day video games. Through careful exploration I will analyze these stories just as one would analyze a novel. Is the story well crafted? What themes are at play? How do our characters grow? And ultimately, what attributes of the video game directly contribute to the game’s core narrative? This is Level Story Magazine. The ideas presented by the writers in this magazine belong to them individually and do not necessarily reflect the opinions of everyone who contributed. © Level Story Magazine, 2019
CREDITS Writer & Designer | Danielle Carpenter Writer | Samuel Gronseth PHOTOGRAPHERS Chris Liverani Evie S. fauxels Hert Niks Jack Gittoes Mona Eendra Sarah (sllda)
SUBSCRIBE
www.patreon.com/levelstory
SUPPORT ONE TIME
www.ko-fi.com/levelstory
WORKS CITED
1. 2. 3. 4. 5. 6. 7. 8. 9.
Craddock, Ryan. “Nintendo To Remaster ‘Most Of Super Mario’s 35-Year Catalogue’ For Switch in 2020, New Report Says.” Nintendo Life, March 30, 2020. http://www.nintendolife.com/news/2020/03/nintendo_to_remaster_most_of_super_mariors_35-year_catalogue_for_switch_in_2020_new_report_says. Sarkar, Samit. “Minecraft with Ray-Traced Graphics Playable This Week.” Polygon. Polygon, April 14, 2020. https://www. polygon.com/2020/4/14/21219768/minecraft-with-rtx-beta-release-date-pc-nvidia. Ridley, Jacob. 2020. “The Minecraft with RTX Beta Is Playable on Nvidia GPUs This Thursday.” Pcgamer. PC Gamer. April 14, 2020. https://www.pcgamer.com/minecraft-with-rtx-beta-announcement/. Garst, Aron. 2020. “The Pandemic Canceled Their Wedding. So They Held It in Animal Crossing.” The Washington Post. WP Company. April 2, 2020. https://www.washingtonpost.com/video-games/2020/04/02/animal-crossing-wedding-coronavirus/. Janerka, Jacob, and Ivan Dixon. n.d. “Seinfeld.” Seinfeld. Accessed April 18, 2020. https://www.seinfeldgame.com/. Hocking, Clint. 2007. “Ludonarrative Dissonance in Bioshock.” Click Nothing. October 7, 2007. https://clicknothing.typepad.com/click_nothing/2007/10/ludonarrative-d.html. Matulef, Jeffrey. 2016. “Uncharted 4’s Really Meta Hidden Trophies Revealed.” Eurogamer.net. Eurogamer.net. May 11, 2016. https://www.eurogamer.net/articles/2016-05-11-uncharted-4-has-a-couple-of-really-meta-hidden-trophies. “Errant Signal - The Debate That Never Took Place.” YouTube video, 8:29. “Errant Signal,” April 06, 2020. https://www. youtube.com/watch?v=Z74nUBkMdSg. Fadilpasic, Sead. 2020. “Kingdom Hearts 3 Director Promises Re:Mind Secret Boss Will Make You Cry.” TheGamer. TheGamer. January 23, 2020. https://www.thegamer.com/kingdom-hearts-3-remind-secret-boss-difficulty/.
WWW.LEVELSTORY.NET
5
Creator Letter
Dare I Say Celeste is a Perfect Game? I Think So. I was emailing a friend a few weeks ago when Celeste got brought up in our conversation. He praised the game heavily and at the end of his paragraph commented that it deserved every award it received. I replied in agreement and declared, “Dare I say Celeste is a perfect game? I think so.” My first exposure to Celeste was a video upload from a Games Done Quick event. The game was being run by TASBot (tool assisted speedrun) which inputs perfect movement to complete a game as fast as possible. I had heard a lot of praise for the game and so decided to watch a run to see what it was all about. What I experienced was a bunch of grown men laughing in awe as the TAS sped through the crazy challenging chapters of the game with effortless precision. It was wonderful. When I finally got my hands on the game, I can attest to being a little intimidated. I’d seen and heard enough of the game to know it was very difficult. After popping it into my Switch, I was able to experience the difficulty first hand.
Yep, it was as hard as people had said. I died quite a bit. At one point in Chapter 2, I turned on Assist Mode due to how much I was struggling. I used Assist Mode on and off for the next few chapters, stopping at some point around Chapter 5 or 6. A co-worker told me after hearing my number of deaths, don’t worry about that. Once you get to the final chapter, you will be a pro. I was skeptical, but awaited the moment when this feeling would come over me. It happened before I even realized it. Suddenly, I was able to tackle Celeste’s challenges competently because the game had subtly taught me how to do so. I was in the midst of playing a game that I now consider a favorite. It is hard not to look back on that time without smiling. There is so much to love about Celeste. From the pixelated art style, to the well developed and quirky characters, to the relatable story, to the fantastic music, to the cute little noises the characters make when their text bubbles appear, to...well, this could go on for a while. I love Celeste. But what sets Celeste apart from so many games is how it manages to weave everything together in a central theme. I’ve never seen a game work so harmoniously, each component in service to one core idea. It deserves every bit of praise it receives. Yes, I dare say it. Celeste is a perfect game.
Danielle Carpenter Creator & Publisher
6
APRIL 2020 | LEVEL STORY
The Hot & the Cold
News
Mario’s 35th Birthday It has been reported that Nintendo may be releasing remastered versions of various Mario titles to celebrate the plumber’s 35th birthday. It is all still rumors but pray to the Nintendo gods that it is a real thing!1
Last of Us TV Show Chernobyl creator, Craig Mazin, will be adapting the Last of Us as a series on HBO. The show will be co-produced by Sony Pictures Television in association with Playstation Productions. The show is set to release in 2021.
NeMO-Net by Nasa NASA has developed an mobile game that allows players to classify coral reefs by painting 2D and 3D images. This is an effort to classify complex living organisms to help save the world’s endangered coral reefs.
Pope Simulator First came I Am Jesus Christ. Now Pope Simulator has been announced. Players can “take the reins of the world’s largest religious institution” and use their influence to change humanity. Hallelujah?
Last of Us Pt.II Leaked After the highly anticipated game was delayed due to COVID-19, a huge leak released showing off some major plot points. Now would be a great time to use the mute feature on social media!
8
APRIL 2020 | LEVEL STORY
Companies Encourage People to Stay Home and Stay Safe during COVID-19 During this time of uncertainty due to the COVID-19 pandemic, people have been told to stay home in order to stop the virus from spreading. Social distancing is the perfect opportunity to play more video games. Now, companies are getting in on the action to encourage people to stay home. GOG.com is offering a 27 game bundle to “help you relax and pass time at home.” Google Stadia opened its doors by making it free for anyone with a Gmail address. Stadia Pro is also giving users two free months of the service, with access to nine games including Destiny 2: The Collection, GRID, and Serious Sam Collection. In their Play at Home Initiative, Sony is offering two free games, Journey and Uncharted: The Nathan Drake Collection, until May 5th. With all of these free games to play, there is plenty to do to fill your time at home. Stay inside and play some video games!
Animal Crossing Minecraft with RTX in Tough Times Beta Now Playable Since the new regulations to social distance to combat coronavirus, most events have been cancelled or postponed until people can safely come together once more. But never fear, Animal Crossing: New Horizons is here to save the day! The game is getting many people through this difficult time by allowing people to be together remotely, holding birthday parties, weddings, and more in an attempt at continuing these traditions while staying safe at home.4
Last year it was announced that Minecraft would be incorporating real-time ray tracing into the game. After a long wait, it is finally here...sort of. Ray tracing has been released in beta mode on Windows 10 but requires a Nvidia RTX GPU along with an Intel Core i5 (or equivalent) processor and 8 GB of RAM. Players can set up their own world or check out the pre-made worlds. It is a hefty visual overhaul but looks pretty darn good and shows a lot of potential for the future.2 3
Photo credit: Nick Taylor Taken at AGDQ 2020
News
Journey is coming to Steam after previously being exclusive to Epic Games.
Corona Relief Done Quick Teams Up with Direct Relief to Combat the Recent Pandemic Games Done Quick has managed to once again host a successful speedrunning event in support of a good cause. Corona Relief Done Quick was hosted on the weekend of April 17th through the 19th. Speedruners came together remotely to raise money for Direct Relief, a humanitarian aid organization that works to help those who have been affected by poverty or emergencies. The event saw some great runs including Ori and the Will of the Wisps, Super Mario Bros. 3, Donkey Kong Country, and my personal favorite, Kingdom Hearts 2 Final Mix. Social distancing has people playing games now more than ever. Seeing them played for a good cause is even better. Over $400,000 was raised for Direct Relief who is coordinating with public health officials and nonprofit organizations to provide personal protective equipment and essential medical items to health workers responding to the coronavirus. Thank you Games Done Quick for the great event, and thank you Direct Relief for the work you are doing in the battle against COVID-19.
A game about nothing sounds like a mighty fun nostalgia trip back to the 90s’! Seinfeld Adventure.5
check out these great runs from the event...
CUPHEAD
OCARINA OF TIME
KINGDOM HEARTS 2 FINAL MIX
As always, it is a treat to watch this game
This randomizer run is equally informative
A fantastic game that made for a fantastic
played fast!
and fun to watch.
finale to a fantastic event.
Runner: Jason2890
Runners: Phant and spikevegata
Runner: Ninten866
The British period crime drama is getting a puzzle game this summer...and it looks pretty darn good! Peaky Blinders: Mastermind.
WWW.LEVELSTORY.NET
9
Story Overview
Celeste begins with Madeline, who exits her car and begins to traverse a snowy environment. After tackling a few minor hurdles, she comes across a cottage and an old woman who resides there. The old woman gives Madeline directions to Celeste Mountain before warning her that the mountain is a strange place that might show her things she isn’t ready to see. Madeline dismisses the old woman’s words and crosses a stone bridge which collapses behind her. She first makes her way through the Forsaken City and meets another traveler named Theo. Madeline is hesitant to say much, but Theo is very talkative and explains that he is a budding photographer from the far off land of Seattle, Washington. He came to Celeste Mountain to explore and take photographs for his InstaPix account. After talking a bit more, the two part ways and Madeline continues her journey up the mountain. Once she is past the Forsaken City, she decides to rest. After she falls asleep, she begins to dream. As she continues to climb, she comes across a mirror. Looking back at her is herself, with purple hair and red eyes. The mirror cracks and her doppelganger materializes before dashing away. When Madeline catches up, she learns that this figure is a part of her (let’s call her Badeline). This part of her wants Madeline to turn around and stop climbing the mountain, saying she can’t handle it. Madeline explains that this is exactly why she must climb the mountain. At this, Badeline begins to chase Madeline, forming clones of herself as she goes along. When she finally escapes, Madeline finds a phone booth. The phone rings and she answers it, though it is unclear who she is speaking to. She realizes she is dreaming and wakes up. After running into Theo again and snapping a selfie, Madeline continues the climb and enters the Celestial Resort. The concierge, Mr. Oshiro, reluctantly leads Madeline through
10
APRIL 2020 | LEVEL STORY
the hotel in hopes that she will stay, but Madeline insists she just wants to make her way through so she can continue climbing the mountain. She runs into Theo in the hotel, who says Madeline should ditch Oshiro and come with him, but Madeline insists Oshiro just needs some help. After helping him tidy the hotel, they finally make their way to a room where Badeline enrages Oshiro who begins chasing Madeline. He finally stops and asks Madeline to leave him alone. She continues her journey, eventually meeting Theo at a ski lift. They begin to ride up when the lift suddenly stops due to Badeline’s meddling. Madeline begins to have a panic attack, but Theo helps her calm down with a breathing exercise his grandfather taught him. They manage to make it up to the top of the ski lift. The two of them then reach a Mirror Temple and become separated. Madeline later finds Theo behind a mirror and must find a way to get him out. She later finds another mirror and is sucked inside. There she finds Theo in a glass crystal. She must carry him out of the Mirror Temple while at the same time avoiding creatures called Seekers. After they find their way out, Madeline and Theo converse about their experiences and their insecurities and grow closer. Their conversation makes Madeline realize that she must let go of Badeline. In the middle of the night, she attempts to sever ties, but Badeline won’t allow it, and Madeline falls to the bottom of the mountain. As she makes her way back to the mountain trail, she and Badeline have a confrontation. They realize that they must work together and Badeline returns to Madeline. Madeline accepts this part of herself and realizes she is stronger with Badeline than without. Together again, Madeline makes her way back up the mountain and reaches the summit, celebrating with Theo and friends afterward by baking a strawberry pie.
WWW.LEVELSTORY.NET
11
MUSIC IN
CELESTE Written by Danielle Carpenter
The music in Celeste is very good...but you probably didn’t need me to tell you that. Anyone who has played the game can attest to this statement. Composed by Lena Raine, the score beautifully supports the narrative and tells a story within the music. The game has a strong theme of anxiety, something which is experienced in every chapter. The score continuously evokes this sense of anxiety throughout the game, matching Madeline’s mental state on her journey. It works with the story and tells a story itself. Although I am not a music expert and have no formal music education, I will do my best not to embarrass myself and explore how a few tracks work to tell a story. Since I can’t really put into words why the music is doing what it is doing, I have included some recommended YouTube videos at the end of the article that explore these ideas more deeply. In the first chapter, the track “First Steps” evokes an anxious and cold climate. Chapter 2’s “Resurrections” provides a very dreamlike melody, telling the player Madeline is dreaming long before the game formally does. As the chapter continues, the track becomes more and more intense, mirroring Madeline’s terror as she runs from the part of herself that is chasing her. The track “Scattered and Lost” plays in Chapter 3 when Madeline makes her way through the hotel. It is very spooky and gives off the feeling of clutter and claustrophobia that surround Madeline. Chapter 5 starts with the track “Quiet and Falling” which contains strange pulsing sounds that make the environment feel otherworldly. This makes sense as parts of this chapter are a manifestation of Madeline’s inner demons. This becomes much more pronounced in “In the Mirror” which builds on “Quiet and Falling” with a lot more pulsing sounds and deep synths that instill the fear and anxiety that Madeline is facing. “Reflection” plays in Chapter 6 after Madeline falls down the mountain. She has just reached the lowest
12
APRIL 2020 | LEVEL STORY
point, physically and emotionally. She has just realized that she can’t run from Badeline but must embrace her. Now she must make her way back up toward the top and it is a moment of calm before the storm. The song is soothing and builds as the chapter continues, similar to “Resurrections” in Chapter 2. This all builds up to “Confronting Myself,” the track that plays when Madeline and Badeline (the name fans use for Madeline’s doppelganger) have their ultimate confrontation. The song completely encapsulates this moment with its chaotic melody overlayed by an epic choir. It is anxious yet also empowering. “Reach for the Summit” plays in the final chapter. Like past tracks, it still carries anxiety in every note, but it is also a very motivating track. There is a sense of finality to the track. This is it. This is Madeline’s moment. She is facing her greatest challenge and she can do it now because she isn’t running away. The track also resembles past tracks. Madeline is making her way back up the mountain and back through the areas she had already traversed. These callbacks subtly bring Madeline’s journey full circle. These are just a few observations of this incredible soundtrack. Not only does it work in service of supporting the game’s story and gameplay, but it is also pleasing to the ears.
HOW CELESTE TAKES A LITTLE AND THE ANXIETY OF CELESTE AND ITS GETS A LOT MUSIC by 8-bit Music Theory
by Fanfare
www.youtube.com/8bitmusictheory
www.youtube.com/gamescorefanfare
WWW.LEVELSTORY.NET
13
Madeline Herself
vs.
14
APRIL 2020 | LEVEL STORY
Written by Danielle Carpenter
M
ost conflict in stories can be broken down into a character versus blank scenario. There is character versus nature (Into the Wild), character versus character (Les Misérables), and character versus society (First Reformed, Catcher in the Rye, the Hunger Games). Celeste is an example of the character versus self conflict. This is when a character is not only the protagonist of the story but also the antagonist. To grow and solve this conflict, the character must change and overcome this aspect of themselves that is providing the antagonism. This type of conflict is especially interesting because of how psychological it can get, giving the story a special crunch. The writer or writers must have a delicate hand to create a character that does the work of two opposing forces. Examples of this can be seen in works of classic literature such as Hamlet and Pride and Prejudice, to modern blockbusters like Toy Story. In all of these stories, the main characters are their own worst enemy. It is only when they confront their own issues that they can grow and change. Celeste’s protagonist and antagonist is Madeline, who decides to climb Celeste Mountain rather than confront the real problems in her life. Her antagonism is represented by her other self, the other part of her that many fans refer to as “Badeline.” For the purposes of this essay, I too will be calling her Badeline to make things less confusing. Badeline is manifested by Celeste Mountain’s power. She is introduced in the second chapter of the game during Madeline’s dream. Most of the chapter is spent running from her as she replicates Madeline’s movement (after all, she is a part of her) and clones herself. This sets Badeline up as the antagonist of the story. It is easy to expect that at some point in the narrative, Madeline will defeat Badeline, but this isn’t what happens. Instead, Celeste offers a far more nuanced approach to the conflict. In the interim between Chapter 5 and Chapter 6, Madeline and Theo converse with one another about their shared experiences and have an intimate exchange about their own fears and insecurities. Madeline tells Theo about Badeline and he later tells her, “This Part of You that’s haunting you, maybe she comes with the territory...Maybe she thinks she is [protecting you]. She
could be some kind of...twisted defense mechanism... Maybe you can learn to control her instead [of her controlling you].” Later that night, Madeline attempts to make peace with the other part of her by severing ties, but is plummeted to the bottom of the mountain when Badeline denies her request. Only after Madeline reaches her lowest point, not just internally but externally at the bottom of the mountain, and she stands up to Badeline, can the walls come down and they are able to reconcile. Madeline doesn’t defeat Badeline but instead comes to understand her. Once they understand each other and realize they must work together, Madeline can finally move forward and climb the mountain once again. The character versus self conflict is working in deeper ways than meets the eye. On the surface it is Madeline overcoming her fears that are materialized through Badeline. But looking deeper shows us a commentary on the struggles with anxiety and depression. What the character versus self conflict boils down to is Madeline struggling with this part of herself that she wishes she could control, but she can’t. Throughout the story, she constantly tries to tell Badeline off. She is afraid of her, angry with her, and upset. But running from her is not the solution. On the opposite side of the spectrum, when Madeline attempts to reconcile with Badeline the first time without allowing Badeline space, her acceptance backfires. It is only when the two of them can accept each other and understand one another that they find common ground and harmony. Madeline never loses this part of herself because she will always be there. This is a powerful message to send people who struggle with theirmental health. Madeline learns that she can’t defeat Badeline, just understand her. Mental health is not something that can be defeated because it doesn’t go away. It isn’t something to be ignored or something to run from, and telling people so is a dangerous message to enforce. This is why the character versus self narrative works so well in Celeste. Madeline’s anxiety and depression that she is running from is not something to defeat or call the bad guy. It is when Madeline embraces Badeline, this part of herself, that she is able to succeed and climb the mountain.
WWW.LEVELSTORY.NET
15
Assist Mode
Written by Samuel Gronseth
16
APRIL 2020 | LEVEL STORY
I believe pretty strongly that one should strive to experience a work as intended. This is different from the question of authorial intent; that discourse is about whether the meaning of a story is determined by its creator or the unique experience of each individual, and it’s a constructive discussion to have. But this isn’t about meaning so much as craft. Creating something is a lot of work. A lot of consideration goes into every aspect of it, as the person (or people) making it wants to evoke emotion, inspire thought, guide someone to a specific headspace. Every aspect of the work is there to create that experience; to remove it is to alter the work, and in the case of particularly good ones, probably to weaken it as well. An easy example from linear media would be removing the visuals from a film. Listening to a movie would often communicate the basic events of the story just fine, but film is a visual medium; much of the story and its meaning is communicated through its visuals, especially in a carefully crafted one. Even less essential elements can have this effect; removing audio, dialogue, music, plot twists, or any other major element of a movie would similarly cripple its ability to communicate the ideas and create the emotional response the creator(s) worked so hard to embed in the movie. Video games are an interactive medium. Whether by making choices that alter the course of the story or simply controlling a character as they experience its twists and turns, this medium is centered around the player’s participation. This is usually thought of as gameplay, but it’s also
an element of storytelling; interactivity has far more forms than gameplay or multiple endings, and even the most linear video game story inherently involves the player in a way that art forms like film or literature generally don’t. It would follow, then, that to experience a video game without playing it yourself is, in my estimation, an incomplete encounter with it. If a video game is meant to immerse and involve the player in a story, watching a playthrough or reading a summary would be a pale imitation of the real thing. On a smaller scale, to cheat one’s way through a game would also be an alteration of the process of play that cheapens the experience that someone carefully, lovingly crafted to work a certain way. I feel rather strongly that this is not to be done lightly. That said. Not everyone can abide by that outlook. Removing the visuals from a film may remove its primary method of storytelling, but a blind person doesn’t exactly have a choice in the matter, which is why many films and shows have visual description modes. Removing punishment for failure in a video game may remove the challenge and tension of play, but also may be the only way someone with one of a variety of visual or physical disorders can successfully get through more challenging moments, which is why an increasing amount of games are giving such options now. I can’t succeed at some games without help due to a deutan color blindness that makes certain colors blend together, which is why many action games now have color alteration modes to make certain things more decipherable to people like me. The fact is that not everyone can experience everything in the same way as everyone else. It’s sad, but it’s true. And while I think it’s important not to arbitrarily remove important facets of an artistic work, I also think it’s far more important that someone experience it at all than do it exactly as intended. Celeste agrees with me on this point, and it does it very well.
WWW.LEVELSTORY.NET
17
The fact is that accessibility in games isn’t about crippling the experience so less capable people can deal with it...but altering the experience in such a way that brings it closer to the intended experience for people who are differently abled. The game features an assist mode, which allows players to alter the way the game plays in specific ways that make it easier. It’s possible to enable an extra dash, so Madeline can move around in the air more times before falling helplessly to her doom. It’s possible to slow down the game’s speed, so there’s more time to react, get the timing right, and figure out next steps. It’s possible to remove the stamina mechanic, so Madeline can cling to a ledge indefinitely without losing her grip and falling. It’s even possible to grant Madeline invincibility so she won’t be harmed by the various obstacles in the game. The original message that appeared when activating easy mode acknowledged that “[the game’s creators] believe difficulty is central to the experience,” and recommended trying the game without these options for the first time. But it also acknowledged that “every player is different,” and the game was designed to be a “challenging but accessible game.” It expressed hope that those who would be unable to play the game in its original state would still be able to enjoy it. The bit about difficulty being central to the experience is no understatement. As mentioned in this issue’s article about ludonarrative harmony in the game, Celeste is the very definition of a game whose process of play is a central element of its story and themes. Climbing the mountain is a metaphor for Madeline’s struggles, and the difficulty of the process (and the inevitable act of trying again and again until the player succeeds) is an important part of what makes it work as well as it does. But the game doesn’t work at all if it can’t be played. No matter how strongly I feel that a game is best played as it was designed to be, that doesn’t help someone who literally can’t do that. An unwavering belief like mine would dictate that they simply don’t get to experience it at all, and that doesn’t sit right with me. No one should be blocked from an experience if it’s at all possible to enable them to enjoy it. So yes, though I believe in preserving the intended experience, I also absolutely believe that improving accessibility takes precedence. But Celeste goes beyond a simple change in priorities.
18
APRIL 2020 | LEVEL STORY
The brilliant thing about Celeste’s assist mode--the thing that makes it so much more effective than a simple difficulty setting--is its customization. Celeste is indeed designed to be challenging, and the ability to tweak specific mechanics allows the player to loosen aspects that make it inaccessible for them while retaining an element of that challenge, if they so choose. Whatever a player’s specific difficulties, they can alter the thing that makes it inaccessible while retaining the things that keep the game challenging for them. The game’s original message has been altered since release; a speedrunner who has hemiparesis (which causes weakness and loss of feeling in one half of the body) expressed concerns that the original message’s mention of an “intended experience” felt exclusionary, and despite all my talk of intentional design, I can understand this perspective. The fact is that accessibility in games isn’t about crippling the experience so less capable people can deal with it, as some have argued, but altering the experience in such a way that brings it closer to the intended experience for people who are differently abled. The new message’s phrasing, that the game is meant to be “challenging but rewarding” and assist mode exists to allow people to keep the game’s difficulty in that range, is an accurate summation of the entire concept of accessibility in games. It’s not about altering the intended experience, but broadening the concepts of challenge and reward to include people that more rigid systems might have excluded. And that’s unquestionably a positive thing. I still think it’s important to experience a work in full when possible. As an able-bodied person, I have no plans to start listening to movies, or watching games in lieu of playing them. But Celeste is an important game that says things worth saying, and I’m glad that it found a way to allow far more people to experience it. The game is not damaged by assist mode; it’s expanded.
SAMUEL GRONSETH
is the creator, writer, and host of the popular YouTube channel, “Games as Lit. 101.” https://www.youtube.com/user/gamesasliterature
WWW.LEVELSTORY.NET
19
20
APRIL 2020 | LEVEL STORY
Written by Danielle Carpenter
LUDONARRATIVE DISSONANCE Ludonarrative dissonance is a lens through which to talk about video games that is thrown around a lot these days in the general discourse surrounding the medium. Since Level Story is a magazine all about story in video games, the subject was bound to be brought up at some point. The term “ludonarrative dissonance” was coined by Clint Hocking in his blog post titled, “Ludonarrative Dissonance in Bioshock.” Hocking writes, “To cut straight to the heart of it, Bioshock seems to suffer from a powerful dissonance between what it is about as a game, and what it is about as a story.” 6 Defined in basic terms, ludonarrative dissonance is when the themes and morals of a story clash with the themes and morals of gameplay. Since Hocking’s post, a number of video game analyses have been framed via ludonarrative dissonance. Jeffrey Matulet of Eurogamer used the term when referencing the Uncharted series, saying, “Uncharted has often been mocked for being about a supposedly likeable rogue who just so happens to recklessly slaughter hundreds of people.” 7 The criticism is valid. There are some takes that say it is an unfair way to critique games. YouTuber Chris Franklin, also known as Errant Signal, says, “story and play both exist in service to the overall work, not as two forces in conflict with one another. So, why do we frame them that way? It would be like going to the movies and afterwards talking with friends about how the film worked as a story and then talking about how the film worked as an example of cinematography, but never at the same time. You’d never do that, and definitely not in a way that would posit a film as ‘cinemanarratively dissonant.’” 8 While Franklin comes from a valid place, I have to push back and say I disagree with his assessments.
Several times have I separated the different building blocks of a story and the medium it inhabits. Yes, we can talk about something as a whole work, but there is also room for looking at a medium within its parts, which is what Hocking was doing in his blog post. Hocking even states in the blog, “This is not going to be a review of Bioshock...This is going to be a critique of Bioshock - a limited one perhaps, because I don’t have the time to really give the game the 50,000 plus word critical examination I think it deserves, but it will be a critique nonetheless.” He even goes on to apologize to the people who made Bioshock, saying he actually loves the game. Talking about a video game through the critical lens of ludonarrative dissonance is limiting and specific, and that is okay. Franklin mentions talking about a movie being “cinemanarratively dissonant,” and while I realize the mouthful exists to poke fun and make a point, I actually think there is room to talk about movies in this way. Video essayist Lindsay Ellis has an entire series of videos dedicated to the conflict between the cinematography and story in the Transformers movies called “The Whole Plate.” This type of discourse exists. And even if I didn’t feel this way, I also think that how we talk about movies and how we talk about video games is vastly different because they are vastly different mediums. Sometimes what we discuss in games is not relevant to film, and vice versa. Although I think the ludonarrative conversation can be somewhat unfair to games (i.e. games are hard to make, art is hard to make), I think having these discussions and making these critiques is worthwhile and important. With all of that laid out on the table, I want to talk about why Celeste is a perfect example of a game whose parts work in unity to make a whole, and therefore show how ludonarrative dissonance can be done right.
WWW.LEVELSTORY.NET
21
STORY Celeste’s story is very straightforward, packing a lot in a small package. Madeline needs to love and accept her entire self to be able to climb Celeste Mountain. The narrative begins with Madeline running from her anxiety, and later being confronted by it. Her anxiety is manifested in another part of her fans like to call Badeline. For the purposes of this essay, we will be referring to her as such. At first, Badeline appears to be the antagonist who Madeline must overcome and defeat. As the story unfolds, Madeline realizes that this part of her is just afraid. After an epic confrontation, the two come together again and use their combined efforts to reach the summit. The only way Madeline could confront a literal mountain was to confront the figurative mountain, the internal conflict represented externally by her trials with Badeline. Celeste Mountain is the center of this story. Mountains are often used in stories as obstacles to overcome. Climbing a mountain represents growth and improvement. Celeste takes this symbolism one step further by making it literal. Just as Madeline is accomplishing this climb and overcoming the external obstacles to complete it, she is also overcoming her own internal mountain. This also plays into the theme of anxiety and mental health. Rather than play into the dangerous notion that these things can be defeated, the game requires Madeline to accept this part of herself rather than run from it. Madeline came to the mountain as an answer to her problems when she was actually running from them. By climbing her internal mountain, she is given the tools to climb the actual mountain.
GAMEPLAY Celeste’s gameplay works in tandem with its story, evoking the same themes and ideas that are at play in the narrative. Celeste is all about overcoming a difficult task. Those who have played the game can attest to its difficulty. The gameplay pulls no punches in making the climb just as difficult for the player as it is for Madeline. At the start of the game, the player is given three modes of traversal - jumping, dashing, and climbing. Each chapter introduces a new mechanic, be it bubbles that temporarily transport Madeline in the direction of the joystick or furry tendrils that turn into menacing dust bunnies when Madeline lands on them. Throughout all of this, Madeline’s moveset remains the same. The simple story has simple gameplay mechanics, and both amount to something much more complex when in practice. What makes Celeste even more unique is how it presents its level of difficulty. Rather than putting up the walls to only include players who want a challenge or enjoy very hard games, they include Assist Mode. When selecting this option, the game reads, “Assist Mode allows you to modify the game’s rules to fit
22
APRIL 2020 | LEVEL STORY
Talking about a video game through the critical lens of ludonarrative dissonance is limiting and specific, and that is okay. your specific needs. This includes options such as slowing the game speed, granting yourself invincibility or infinite stamina, and skipping chapters entirely. Celeste is intended to be a challenging and rewarding experience. If the default game proves inaccessible to you, we hope that you can still find that experience with Assist Mode.” This is another example of a gameplay mechanic working in service to the themes of a story. Just as Madeline is able to climb the mountain at her own pace, on her own terms, the player is also afforded the same option. Beyond the basic gameplay elements, Celeste also finds useful ways to express ideas beyond story moments. For example, when Madeline and Theo are riding the ski lift and it comes to a halt, Madeline begins to have a panic attack. Theo helps her get through the panic attack with a breathing exercise involving a feather. He tells her to imagine a feather floating in front of her and that her slow and steady breathing is what keeps it afloat. The player has to keep the feather floating along with Madeline, rhythmically moving the joystick up and down to mirror her breathing. After this concept is introduced, it is later used as a means of traversal. Madeline can use these gold feathers to fly for a brief period of time. The feather, a symbol of balance and calm, is now a means for Madeline to more easily reach different locations that bring her closer to her goal. This exercise of anxiety management aids Madeline in climbing the mountain as well as the player. Another great example comes at the end of Chapter 6 and flows into Chapter 7. Madeline and Badeline resolve their conflict, accepting one another and deciding to work together to reach the summit. Their coming together is visualized in Madeline’s red hair changing to pink. What is important is that she now has another dash. Whereas Madeline previously only had one dash that would revive once she landed on the ground, she now has two. Only when Madeline stopped running from her problems and addressed them head on in Chapter 6’s confrontation was she able to find the tools to overcome the mountain. The game’s forward themes about taking care of yourself and the importance of mental health are followed through by making Madeline stronger for her choice not to defeat Badeline, but embrace her.
WHAT MAKES CELESTE SPECIAL I keep returning to Chris Franklin’s assertion at the beginning of this essay, that “story and play both exist in service to the overall work, not as two forces in conflict with one another. So...why do we frame them that way?” What is the value of having the ludonarrative dissonance discussion? Why does any of this matter? Going back to the Uncharted example brought to light by Jeffrey Matulet, this is a clear example of opposing themes within a game. The story says one thing, but the gameplay says another. Yes, they exist in service to the overall work but this overall work is therefore conflicted in nature. It doesn’t make it bad, but rather is another way of framing the discussion. If narrative and gameplay can be opposing as exemplified in the Uncharted games, then Celeste is an example of these two components working in harmony with one another. This conversation is not about putting story and gameplay in a boxing ring to duel it out, but rather a way to recognize how games can bring the two elements together and how to do so successfully. The ways in which gameplay and story interact within a video game can lead to a better and more nuanced understanding of games as a whole. The conversation doesn’t seek to cheapen games but provide richer discussions.
Ludonarrative dissonance is a window into a larger discussion about narrative in games. It serves to understand the form more deeply. I can still love Uncharted even though the gameplay and narrative aren’t always on the same page. Narrative is still relatively new to video games and so how we talk about that is going to change and grow. Having the ludonarrative dissonance conversation should not hinder the medium but exist as simply a lens in which to view it. Games are hard to make. Celeste is the rare example of several ingredients coming together to work in complete harmony. Everything exists to tell a complete story. It is rare that a game can match the gameplay to the narrative quite so well. We have the same conversations about literature, when a boring passage is purposefully emoting the boredom in which a character feels. I believe Celeste’s achievement should be celebrated. Because there are so many moving parts when creating a game, it is beautiful to see it all come together and on the same page, to work in service of a core theme. And in a game that is all about Madeline and Badeline working together in service of a common goal, it only makes sense that this story can come together with other elements of a video game in service of a common narrative goal.
EVEN MORE CELESTE HOW TO MAKE STRAWBERRY PIE!
CAN A VIDEO GAME HELP YOUR MENTAL HEALTH?
LEARNING TO SAY FAREWELL
by Video Game Meals
by Game Coping
by Kacero
Have you collected too many strawberries
Game Coping tackles how video games can
A beautiful and personal analysis of the final
and need to use them for a recipe? Well you
help us cope with different issues, speaking
chapter of Celeste, Chapter 9, which was
are in luck! Learn how to make the classic
specifically toward Celeste.
released as free DLC.
www.gamecoping.com/
www.twitter.com/kacero_
strawberry pie from Celeste! www.youtube.com/c/videogamemeals
WWW.LEVELSTORY.NET
23
When a Game Isn’t Fun Last year, I replayed the game Life is Strange in order to reacquaint myself with the story to write about it for Level Story Magazine. I was not too excited going into the game, having disliked much of it on my first play-through. But playing it a second time was oddly refreshing and revealed more depth than I originally allowed the game to offer. What struck me most about the game was all of the dark avenues in which it took the story. From plot points about girls getting kidnapped and drugged, to the everyday violence of men towards women, and to a scene where a character threatens to commit suicide (and succeeds depending on the choices you make in that moment based on how well you have been paying attention), the game does not shy away from difficult topics. It got me asking, in the very back of my mind, what happens when a game is not fun? This question became even more evident when it became personal, after my younger cousin committed suicide. The pain which was put on display in Life is Strange suddenly felt much more real in comparison to before and I quickly realized that I would never be able to experience the scene the same way again. I was being forced to think about the dark reality of my own experiences when witnessing the one on screen. This is not something new. Entertainment can sometimes hit too close to home with certain plots. For example, I tend to stay away from shows about doctors for fear that what patients are experiencing will happen to me. A friend of mine can’t play The Last of Us because all she can see is her daughter being shot. The thought of that is too painful for her to continue with the game. Sometimes, games are not fun.
Written by Danielle Carpenter
24
APRIL 2020 | LEVEL STORY
I don’t want to make an argument for why these sorts of games should be experienced no matter what, because I think people should not purposefully expose themselves to things that make them feel incredible pain. But I do want to explore the power games have and what these unfun moments mean. The cultural understanding of video games has largely revolved around them being forms of escapist entertainment. Once you turn on your console, you can perform maneuvers that would be impossible in real life and explore fantastical spaces within your own living room. As a child, this is what games were for me. They existed to give me a challenge and have fun, and never went past that line. But the truth is, games have been passing that line for longer than we care to admit. Sometimes we don’t even realize a game has transcended from fun adventure to social commentary. Art and stories cross this line all of the time. Yet for some reason, I viewed games as a separate entity when in relation to something like literature or film. This is strange coming from me, a person who has a magazine about stories in video games and argues that these stories should be taken as seriously as any other story in another medium. So why was I so fixated on this notion that video games aren’t always fun? I think a lot of this has to do with the nature of games themselves. Games inherently are meant to perform play. A book or a movie does not require this sort of participation, at least not in the same capacity. In addition, books and movies are expected to have a story to tell. Playing a video game doesn’t require this same need for a plot, at least on the surface. For example, Tetris has no visible plot, and plot doesn’t need to exist to enjoy the game. Including narratives in video games, therefore, recontextualizes what a game is and gives it new meaning. And this brings me back to Life is Strange. What was giving me pause was the fact that this game, which was supposed to give me joy in the form of play, was actually doing the opposite. Playing through the scene where a student is ready to jump off a building is not fun in the slightest. It is emotionally draining. The game is full of these types of scenes. I’m an English major, so experiencing stories that have emotionally draining story moments is my bread and butter (and to be clear, sad story moments or emotionally draining moments does not equal deep or interesting storytelling. It is when the writer or writers use these moments to say something larger that elevates them from the typical sappy, sad scene). Engaging with stories has a way of contextualizing things that we may not be able to do ourselves. Sometimes it is easy to view people and their experiences in black and white terms. Stories provide color and open windows to understand people, the world, and ourselves more deeply when we otherwise may not have done so. Stories have the power to move us and teach us. Experiencing these very raw and human moments feels cathartic in a way.
This inherently goes against the very nature of gaming in its basic form. Games are not commonly seen as a means to understand ourselves and humanity a bit better. If there is a challenge in games, it is less to do with emotions than physical or intellectual mastery. At least this is the default understanding. Perhaps this is why so many gamers get upset when a game dares to go deeper and not just tell a story, but tell one that hits sensitive buttons or gets political (and by political it usually means any story that isn’t about a straight white man, apparently). A game’s difficulty is a tool that promotes growth and change. Celeste is a clear model of this, it’s rigorous gameplay matching the high intensity of the story. Lots of games present the player with gameplay that really tests them, so that when they beat the boss or complete a level, there is a sense of accomplishment. Perhaps overcoming these gameplay challenges makes the player better at the game and better able to handle more difficult gameplay challenges within said game and in other games. It is expected for the player to learn and grow from the gameplay challenge. Celeste does this on both counts. Not only is the game simply difficult to master, but it centers around themes of mental illness, insecurities, and acceptance. The game tells a competent story that challenges our ideas of how to deal with conflict. The main character, Madeline, can’t simply defeat her antagonist as traditional stories often go. Instead, she has to reconcile with herself in order to move forward. Celeste pushes the player to master the gameplay in order to overcome several different challenges. Although the game is a favorite, I can attest to being very frustrated with it at times. Sometimes I didn’t feel like I was having fun - until I finally overcame the difficult movement I’d been trying to master for hours. But that sort of challenge is different to a narrative challenge. Thinking about all of this made me realize something. Narrative in games, especially narrative that is dealing with heavier topics, is in itself a form of a challenge. Just as gameplay presents a challenge, so does the story. We can still play a game and enjoy it separately from the story (and perhaps we have to do this when the story is not so good), but looking at a story as a form of challenge in a game can help us grow and change. Perhaps my desire to be challenged in this way is unique. I don’t know. Our understanding of games has changed so rapidly in a short amount of time. It is normal to expect that going into a game is going to be nothing but fun, but I think the medium requires more from us at times. This isn’t to say we can’t play just for fun, but that we should allow games to have these moments that are dark and close to home (beyond simply having dark filters and gray landscapes), the way other mediums are allowed.
WWW.LEVELSTORY.NET
25
KINGDOM HEARTS III
Written by Danielle Carpenter
RE:MIND
26
I may be suffering from Kingdom Hearts Stockholm syndrome...
I should state on the record that I am a massive Kingdom Hearts fan and will always be at bat for the series. This is something important you should know before I get into this brief review / analysis of the Kingdom Hearts 3 DLC, Re:MIND, because this will be a short piece and it deserves something much more introspective which will come later down the line when I tackle the game in the magazine. Basically, I’m not too optimistic about the whole thing and I want to talk about why. Kingdom Hearts 3 Re:MIND released in January 2020, one year after the original game’s release. It is described as “the other tale that unfolded during the climax of Kingdom Hearts 3” and promises new story moments, playable alternate party members, and more exploration in certain areas. It is sold for $30, unless you want the Kingdom Hearts Orchestra -World of Tres- concert video which adds another $10 to your purchase. For purposes of transparency, I purchased the Concert DLC and have played through the entire campaign as well as Limit Cut and the Secret Episode. I did not dabble with the EZ/Pro Codes and only played with Data Greeting minimally. Let’s first talk about the Re:MIND campaign. This promised to provide answers to the lingering questions from the ending of Kingdom Hearts 3. In some regards, it delivered. But what the story mostly accomplishes is reminding me that when it comes to Kingdom Hearts, I have a bit of Stockholm syndrome. I imagine we all do. We keep coming back and are always led to believe the story will finally be satisfying. But it never reaches the mark. Re:MIND does very little to properly tell a full and complete story. Most of the time it retreads the end game with overlong cut scenes and sad excuses for, “See! That is why this character did this thing!” The first time I played through, I ended up skipping a lot of cut scenes because it seemed like I was watching the end of the game all over again. I understand the need to do some retelling for context, but having a majority of your cut scenes do the same thing as before is not good or interesting. If there is one good story element I can take away from Re:MIND, it is that it manages to make Sora’s tragic ending much more satisfying. Sora’s time jumping and expedition to save Kairi are considered taboo, and so it makes sense that Sora pushing those boundaries would force him to disappear at the end of the game. The origi-
APRIL 2020 | LEVEL STORY
nal game has very little explanation for Sora’s disappearance, and this makes me frustrated that Re:MIND wasn’t just part of the main game. The obvious reason for this is time constraints and games are difficult to make. However, Re:MIND really shouldn’t be a separate campaign. To avoid the monotony of the retreading scenes, it should just have been implemented into the main game, as Kingdom Hearts has done in the past with Final Mixes. Adding to this, the game only has nine save slots. Re:MIND requires a slot and so does the following episode, Limit Cut. That is three slots total for a complete Kingdom Hearts 3 experience, a third of a player’s save slots. It would have been nice if the game provided more with the DLC. This could have been fixed had it been patched into the main game. Gameplay in Re:MIND was overall very enjoyable. The new reaction commands were a ton of fun and I loved the group fight toward the end! I enjoyed playing as different characters but don’t enjoy the fact that they come with limitations to the base game such as no airstepping, no shotlocks (sometimes), etc. Sora is the character that I have built up throughout the game and it can be frustrating to lose the freedom I had with him. It would have been nice to see these elements implemented when playing as alternate characters. It also would be nice to have a small menu before playing as them to customize their shortcuts based on the items and spells they have available. Being able to play as Aqua and Riku again was great, but having the option to play as Roxas and Kairi was even better. That being said, I fear that making Kairi a playable character in one instance is meant to erase all of the damage her character has taken throughout the series lifetime. One good moment does not erase the bad. In addition, I found her frustrating and could not beat Xehanort with her on Critical Mode. I switched to Sora. Finally being able to explore Scala ad Caelum was also a real treat, though it is still somewhat limited. I’m still confused as to why this was not in the base game seeing as it is such an integral part of Xehanort’s character that is the set up at the start of the game and the framing device for the game. This comes back to my notion that Re:MIND should just be part of the regular Kingdom Hearts 3 campaign.
There is one aspect of the DLC that I just can’t critique at all and that is the music. Yoko Shimomura is a god and should be praised for her amazing score. It is just as amazing as her past work and seems to understand the story far better than those writing it. That being said, I am curious as to where the Kingdom Hearts 3 soundtrack is. I seriously don’t understand why Square Enix is sitting on this while fans are ripping the audio themselves and sending it out in the world for free. They would buy it in a hot second! I would buy it in a hot second! Yet it has almost been a year and a half. I would have rather been offered the digital soundtrack instead of a concert performance for my $40. Now let’s talk about Limit Cut and the Secret Episode. This is where the Re:MIND DLC really shines. As in Kingdom Hearts 2, Kingdom Hearts 3 brings back data battles in the Garden of Assemblage. I’ve never been one to do the bonus content in most games. The most I’ve completed for Kingdom Hearts is the mushrooms in Kingdom Hearts 2 on Standard Mode. To properly talk about my experience with Limit Cut and why I decided to give it a shot, I first have to talk about playing Kingdom Hearts 3 on Critical Mode. I decided to play through the base game on the hardest difficulty because doing so would acquire the Oblivion Keyblade. Doing this is not for everyone, however playing on Critical Mode was such an enjoyable experience for me. It made me a better player and made the game much more enjoyable. By the time I finished, I was very skilled with Kingdom Hearts 3’s combat and so wanted to try Limit Cut since I was on a role. I was afraid that if I took a break and tried these mega bosses later, I wouldn’t do as well. So I went into Limit Cut on Level 99 Critical Mode and fully expected to get my ass handed to me. But at least I had a chance. These bosses, including the secret boss, may be the most difficult challenge I’ve ever faced in a game (next to
Celeste of course). According to Tai Tasue, the co-director of Kingdom Hearts 3, the secret boss was said to be “hard enough to make you cry” by play testers. That really can be said of all of these bosses. When I first attempted them, I practically died instantly. Some took hours and hours to finally master and beat. I watched the top players beat these bosses with no damage on Level 1 to try to figure out where their openings were. It was stressful at times, I won’t lie. I’m not sure if it is something I want to do again. But I’m glad I did it once on Critical Mode. Beating these bosses is highly satisfying and worth the money for the DLC if you like a really hard challenge. There really isn’t a legitimate story in Limit Cut, just enough of one to allow the episode to exist. The Final Fantasy characters are back but they might as well have stayed obsolete for this game as they serve very little purpose. Why they weren’t included in the base game is once again very confusing to me. I know Nomura and the team addressed that, but their response is baffling. They claim to want to focus on original characters, as if that is a reason to not have side characters in a game that relies heavily on side characters. There easily could have been a place for them. Shoving them in this DLC really does them a disservice. Overall, I can say I had a very enjoyable experience with this DLC. I will never stop returning to Kingdom Hearts, but the big issues still exist. This DLC offers little in the way of satisfying story content and is not worth the price for the average fan. Not only is the DLC determined to be inaccessible with it’s extra save slots and high price point, but in it’s story which does not do much of anything at the end of the day. For a story that was meant to conclude things, it leaves us with more questions than answers. This has become the Kingdom Hearts way and I am continually disappointed at the wasted potential.
WATCH ME BEAT ALL OF THE SUPER BOSSES www.levelstory.net/kh3-bosses
WWW.LEVELSTORY.NET
27
WHAT WE ARE ENJOYING
TELL YOUR MAMA
AFTERBURNER
WILD CHILD - EP
IN THE LIGHT - SINGLE
An album that is beautiful both lyrically and musically.
An album that dives into a diverse range of genres.
The perfect music to lift your spirits with some heavy spring vibes.
A wonderful, poppy set of songs that is sure to keep you smiling while you listen.
THE DAILY POEM
RACIST SANDWICH
DEAD MEAT
TALK THIS!
Just as the title implies, a poem is read every single day.
A podcast that encourages their listeners to think critically about race and food.
A safe haven for horror fanatics with reviews, history, and more!
Two sisters talk about video games, old and new, every week.
[Black Suit Records]
[Close Reads]
[Rise Records]
[SHEL]
[Psilo Music/Tone Tree Music]
[Emma and Madelyn]
[Chelsea and James]
CROSSWORD Across 2. Who makes games? 3. Celeste ________ 6. Chapter 9 9. These will impress your friends 10. Gold _______
Down 1. Reach for the ______ 4. Celestial Resort Hotel Concierge 5. The thing you say right before doing something irresponsible 7. Theo’s sister 8. Part of Madeline 9. Madeline’s monster
APRIL 2020 | LEVEL STORY
Answers: Across: 2. Matt, 3. Mountain, 6. Farewell, 9. Strawberries, 10. Feather; Down: 1. Summit, 4. Oshiro, 5. YOLO, 7. Alex, 8. Badeline, 9. Seekers
28
LIVE ACTION DISNEY REMAKES MUSIC UNBEARABLE EMPTINESS OF SONIC [Sideways] [Renegade Cut]
A KINGDOM HEARTS SPEEDRUN ANALYSIS [Saiyanz]
Look, we all know the live action Disney remakes are bad. This video specifically dives into why the music is bad.
Well, the Sonic movie happened and it sure was another empty Hollywood cash grab.
An incredible speedrun breakdown of every game in the Kingdom Hearts series by measuring statistics from each game.
THE WEIRD MIND OF T.S. ELIOT [Maggie Mae Fish]
LADY AND THE TRAMP II [The Sin Squad]
FINAL FANTASY VII - A LITERARY ANALYSIS [Games as Literature]
Maggie does it again with an insightful video about the poetry in which the musical Cats is based.
Disney sequels are always a blast to make fun of, but this video takes things a step further with a layer of sweet sweet analysis.
The Game Professor is back with another literary analysis. This time, it is the beloved Final Fantasy VII. Now is the perfect time to watch with the release of the remake!
FEED [Candlewick Press]
BAD STORIES [Red Hen Press]
FUNNY BOY [William Morrow Paperbacks]
A futuristic novel that centers around a teenage boy and his friends, questioning consumerism and identity.
Steve Almond examines what happened to the 2016 American presidential election by the bad stories people told along the way.
A coming of age novel that follows Arjie who grows from boyhood to adulthood amidst conflicts in his country of Sri Lanka while also wrestling with his sexuality.
WWW.LEVELSTORY.NET
29
FA N S W R I T E Celeste is a game about encouraging. The story of Madeline may be an example of getting through a specific problem (mental health, discrimination, it’s really up to personal interpretation), but it’s crafted in a way that no matter what YOUR problem is, the game will encourage you to try to overcome it. And the best part is, it does that very gently, without feeling forced. That’s how I saw it. - adb_95 on Redit Celeste is a very unique platformer game, as its storytelling has been a memorable experience for me. It does an excellent job at illustrating Madeline’s struggle through her journey, which a lot of people can relate to. The game tries its best to encourage players either by motivational messages, or by giving them accessibility options which help players practice certain parts of the game. If you’re having a bad day, this is a great game for you, as it has some of the most rewarding challenges I’ve had in a platformer. - Ezel142 on Reddit Celeste is the only game I’ve ever played that I ended up 100%ing, and it’s because of Chapter 9: Farewell. From sheer stubbornness and the desire to see the rest of the story that I had fallen in love with, I jumped the gate and went into it without completing the B-sides and C-sides. I didn’t want to deal with those challenges, I never thought I would be capable - I just wanted to finish the story. It took 24 hours over the course of one week. Over and over, under the backdrop of a starry ocean, I asked myself, “will this part be the thing that stops me?” But it never was. Because through its constant difficulties and demand for me to aim higher, I learned that nothing, nothing was off limits if I had the determination to see it through. - Nitrogenia on Reddit
30
APRIL 2020 | LEVEL STORY
In a time where it seems like everyone is at least a little bit depressed, Celeste is a game that teaches people how to process their negative feelings. It allows the player to resonate with its protagonist by making their struggles and hers one and the same, yet is continually gentle and reassuring, such that its next challenge never feels beyond the player’s reach. I wasn’t in a great place when I played Celeste, and it told me some things about myself that I needed to hear. It’s probably the most important game I’ve ever played, and I want it to reach everyone who needs to hear what it has to say. - CHAOS_FANTAZY on Reddit The music is awesome and always fits to what is going on in the story and in the environment. - Zaltyxx on Reddit Celeste’s OSTs make so create an environment of peace and tension both at the same time. It keeps the game feeling calm but chaotic at the same time. Lena Raine did an amazing job at composing these masterpieces. - Fex914 on Reddit From the first time I selected “CLIMB” I was hooked, everything feels so right in this game, every death teaches you something that didn’t work, you try it and try it again... And then do it more efficiency,and then faster. But no matter what, it plays at the pace you want it to. That is what makes this game so special. - sargeonesixty on Reddit
WWW.LEVELSTORY.NET
31
32
APRIL 2020 | LEVEL STORY
