There’s got to be some general benchmark, right? Certainly, we’ve all played games whose atmosphere is so compelling that we have quickly suspended our disbelief (in some cases even forgetting we are holding a controller or using a mouse and keyboard) while helplessly falling into the world created for us, not to be seen again for weeks. But then, how can we know when one game has successfully developed (and successfully transmits) its atmosphere, while another may not? At the same time, I imagine most gamers would blanch at the suggestion that “good atmosphere” in a game is a completely relative matter. It is unlikely that atmosphere in a game can exist separate from a player’s experience of that game. In other words, speaking of literature in isolation of an audience doesn’t provide us with the entire picture. In the academic discipline of literature, “Reader-Response Theory” conjectures that a text doesn’t really exist in isolation of a person who experiences that text, who recreates that text by reading it and having an intellectual and/or emotional response to it. So in willfully ignoring the existing conversation, it’s safe to say the issue of atmosphere in games is a tricky, ephemeral notion surrounded by a multitude of questions: What exactly is happening when a game successfully delivers an atmospheric experience? What constitutes atmosphere? What are its parts? Is there some magical coalescence of elements-sound, visuals, story, gameplay mechanics-that creates an atmosphere? If so, in what parts? Are some elements more important than others, or do these disparate elements equally contribute to our vague definition of atmosphere?Īnd we can’t forget the player’s role in all of this either. I could Google the phrase “atmosphere in videogames” and probably find many discussions on the issue from people in the know, but I sometimes enjoy approaching these ideas from a naïve stance.
Just because of my penchant for darker games, usually when I talk about atmosphere, I’m thinking of the thick-as-pea-soup scary variety. I think most of us know when a game nails its atmosphere, which can come in a variety of flavors-it might be a dark, scary atmosphere or it may be a tense, gritty atmosphere or it may be a clinical, ordered sci-fi atmosphere or it may be a humorous and lighthearted atmosphere. I want to extend that conversation right now as I ponder my experience with this Polish-made “Dead Space” wannabe (a facile comparison I will complicate further in a moment). Right as I was playing “Afterfall: Insanity,” two readers of this blog (Mark and Mark, respectively) replied to another post regarding the “F.E.A.R.” franchise, and we got into a mini-discussion of “atmosphere” (writ large) in games. Land of the Dead: Road to Fiddler's Green.
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