Elden Ring, game of the year for 2022, was a video game that I, subjectively, found unpalatable. But, does this make it a bad game?
Media archaeology is an emerging field of study focusing on the historical examination and preservation of video games and their related artifacts. With components like software and hardware preservation, documentation, and a deep dive into the socio-political and techno-economic contexts, it provides an intriguing framework to evaluate games. Using media archaeology, let’s determine if Elden Ring is a bad game after all.
What is Elden Ring?
Elden Ring, developed by FromSoftware and boasting world-building by fantasy maestro George R. R. Martin, is an action role-playing game that, by many accounts, transcended its genre. The game’s reception is overwhelmingly positive with accolades for its world design, combat mechanics, and incorporation of the revered “Souls” mechanics. However, no game is without its dissenters, and some minor criticisms were made, primarily concerning technical issues and specific design choices. The game’s vibrant community, features unique modifications and online sharing of game content, with my favorite being the journey of Let Me Solo Her.
The formal elements of Elden Ring
Where “Elden Ring” falters, for me, is in its formal elements. The game’s setting, The Lands Between, is an expansive realm filled with dark landscapes and complex lore. While many revel in the immersive, interconnected environment, I found the intricate lore overwhelming. Rather than aiding my gameplay, I was frequently sidetracked by the need to consult Wikis.
Moreover, the game’s narrative approach, which prioritizes non-linear storytelling and requires player involvement in piecing the story together, was more a maze than a joyride. As a casual gamer, I felt lost, robbed of purpose, and frequently overwhelmed.
The control system, while designed to be responsive, demands a level of precision that I found challenging. Add to that the high software and hardware requirements, and my experience was occasionally marred by technical issues. Lastly, the game’s notorious difficulty, with its absence of traditional settings, made the gameplay more grueling than enjoyable for me.
The contextual elements of Elden Ring
Examining the game’s context, I found that my love for clear quests and narrative progressions in fantasy RPGs clashed with Elden Ring’s framework. The numerous instances of frustrating deaths and hours spent on research were a far cry from my ideal gaming experience. Knowing the game stems from the creators of the Dark Souls series, the “Souls” mechanics were expected but the sandbox style was jarring for someone with my preferences.
Concluding Thoughts
While I deem “Elden Ring” a ‘bad’ game based on my subjective experiences, I recognise its numerous merits and why many gamers hold it in high esteem. Media archaeology provides a unique lens, allowing us to:
- Understand the game’s historical context
- Recognise prevalent trends
- Identify game precursors
- Discover influences often overlooked
Ultimately, this journey reminds us that the notions of ‘good’ or ‘bad’ in the gaming realm are inherently subjective. Our task as media scholars is to delve deep, peeling back the layers to grasp the underlying reasons behind varying audience receptions.