We're accustomed to games, even the most nuanced, beginning with a clear problem: an outlaw on the run, a world in peril, a loved one kidnapped and held hostage by a gorilla.
Sea Of Solitude, however, starts with an overwhelmed plea, a phrase spoken with equal amounts of desperation and hopelessness: "Change me."
These words might be familiar to anyone who's battled anxiety, depression or even had a sleepless night, and this is how we meet Kay, a teenage girl whose once human form has been replaced with demon-red eyes and feathers darkened as if by an oil spill. Though monstrous, we're not scared of her; Kay seems afraid, fatigued and ailing.
We will in moments meet a proper monster. And though some of these creatures have the ability to swallow Kay whole, death never appears to be their ultimate goal, not when emotional manipulation will slowly and more excruciatingly allow someone to gradually kill off everything they love about themselves.
"You have no idea what you're doing – as usual," they may say. Or more crassly: "Ugly runs in your family."
In the midst of a summer blockbuster season, where escapism, barbecues and superhero films reign, video game giant Electronic Arts is publishing the deeply personal Sea Of Solitude, an exploration into the terrors of loneliness from Cornelia Geppert's Berlin-based Jo-Mei Games. Prior to Sea Of Solitude, the company survived by developing mobile and browser games for third-party clients.
Sea Of Solitude is not a game-as-medicine; at times, its tenseness borders on survival horror, requiring Kay to evade ghastly forms. The Geppert-directed game works in metaphorical ways, putting emotion ahead of plot and making the argument that interactive entertainment should speak as thoughtfully about mental health as film, television and music, where works such as Maniac, Us or even the songs of Billie Eilish have inspired conversations about what it means to be human.
While Sea Of Solitude is far from the first game to look honestly and seriously at weighty subject matter, it advances the notion that play is a storytelling device and not just a means for competition or puzzle solving.
"I want them to enjoy the ride," Geppert says of her goal for those who play Sea Of Solitude. Yet she also wants those who experience the game to walk away with a different idea of what winning means.
"I want people to see that whatever you are up to – whatever your next goal is – it's not about that you come out at the end with the perfect score, that you're the superhero and everything will be fine. That is not the case. This is about having a more calm way of going through life, and that you will know that bad times will come again, and very good times will come again, no matter what you do."
Sea Of Solitude garnered instant attention when it was unveiled at the 2018 Electronic Entertainment Expo in Los Angeles. It also drew attention for being part of the Electronic Arts roster, a studio known for its sports series (FIFA) and stable of blockbuster-driven studios working on games such as Star Wars: Battlefront.
But what was once niche content targeted to indie-hip audiences is now suddenly in demand at larger players, in part because of a growing belief that subscription-based models will be the future of game distribution. If games are to speak to those not already playing them, it won't be because someone just awoke to the majesty of a Fortnite or a Call Of Duty; it will be games like Sea Of Solitude, which show the medium can capture the full breadth of human emotion.
Geppert likes to tell a story about presenting the title at an E3 press conference and then being approached by a bathroom attendant. "The bathroom lady – I think she was in her mid-40s – and she said, 'Cornelia, I was so overwhelmed by your presentation. I've never played games before, but I think I need to play this game.'"
While topics related to mental health aren't new to games, they're far from the norm. Ninja Theory's Hellblade: Senua's Sacrifice used action and horror elements to delve into psychosis while Accidental Queens' mobile Another Lost Phone: Laura's Story tackled themes of sexual identity, bullying and domestic abuse.
Night In The Woods from Infinite Fall tackled coming-of-age-existentialism and post-traumatic stress disorder. And with Psychonauts, Double Fine Presents sought to explore, with exaggeration, mind games and emotional stress. A sequel for the latter is due next year, and while the Psychonauts games specialise in action and humour, they also carry plenty of heart.
"I think Psychonauts is a very humanist game," says creator and Double Fine founder Tim Schafer. "It's very empathetic to those characters; even the villain is redeemed. You go inside his head and learn about childhood and you literally see him fight his personal demons. It helps you understand him as a person. I think that is the philosophy of Psychonauts.
"Even though we get into issues of mental illness, and we do it with comedy, we treat characters with respect," he continues. "We draw upon personal experiences with those issues rather than just stereotypes."
Sea Of Solitude wants us to play with what it means to be human
- TECH
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Sunday, 14 Jul 2019