![]() ![]() Like a person making a dumb parody 80s action movie, but coming from the perspective of not someone who wants to say "look how fucking dumb this is, I can't believe we take this seriously, this is stupid", and more "look how fucking dumb this is and how awesome that is to enjoy". The writing makes numerous parodies and observations of genre and stylistic tropes, but does so with overwhelming affection and love for those tropes. Nothing about Hi-Fi Rush's character writing and premise lean on condescending observations or snark directed at the setting, characters, premise, or style. Walker's article doesn't go into it, but the key difference between how Forspoken presents versus Hi-Fi Rush is that.well, they're genuinely completely different. Unfortunately though that can't change the fact a lot of the media shown pre release, in trailers and previews, and indicative by the in-game demo banter, gave that impression regardless of how well justified it is or not I haven't played it, and I'm certain part of the reaction is due to a) fragmented dialogue and scenes that naturally hold up better when given appropriate context, and b) the internet's perpetual shit flinging once it gains momentum. It's just complete rubbish writing that sucks away the brevity of the situation and our relatability to the protagonist like air from an airlock.īut my argument here is that Forspoken isn't all like this. And in response our protagonist sarcastically quips "WELCOME TO HABITAT 7!". The crew is separated, they have no idea how to get off the planet, there's a hostile, violent, unknown alien storm tearing through the atmosphere, and they're all alone. On top of this the ship is damaged, and the recon vessel crash lands on this unknown world. The lives of hundreds/thousands are hedged on surviving in a place nobody can escape. And it's not just for them, it's for an entire colony in status. The one planet they'd hedged their bets on isn't. They arrive, and what do they find? It's not. They are confined to a single spaceship on a high risk mission to an unknown planet in an unknown galaxy, gambling entirely on the assurance this is a habitable garden world. The opening is indicative of this: the protagonist has travelled lightyears out of the only place they ever called home, forever removed from anything resembling the comforts and security of their family and friends left behind, knowing full well they can never, ever return. Andromeda regularly stumbles at this with the humour by having our characters present as seemingly unwilling to take a situation serious. As if characters most responsible for these lines, like Garrus and Wrex, are conscious of the actual stakes and actual threat the situation poses, not divorced from the morality or gravity, but genuinely trying to penetrate the seriousness with a joke or observation that allows us to laugh. Where the trilogy is loaded with punchlines and sarcasm, it's regularly presented with a prose and tone of somberness and macabre. I've used this example before, but Mass Effect: Andromeda's worst writing falls victim to this same problem in a way that the Mass Effect trilogy's writing does not. You can't have the character make fun of otherwise dangerous, life threatening situations without the audience being sent the message that they too should make mockery of the scenario. Even with writing structured around this premise, you cannot have the protagonist make condescending mockery of, say, antagonists or villains that in the context of this premise should be terrifying and frightening. And being a fish-out-of-water premise is not an excuse. When the protagonist treats the very premise as something of a joke, or an unbelievable set of events to make mockery of, the audience has no other choice than to feel the same way. It evokes an attitude of condescending apathy towards the game itself in all its form the setting, the characters, the premise, the motivators, the barriers, etc. The problem, reactionary or otherwise, with Forspoken's presentation is in the snark. The short version, and why in contrast Hi-Fi Rush works despite the comparison, is in the prose, intend, and delivery. Post-Cringe: Forspoken and the Self-Sabotage of the Smirking Protagonist ![]()
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