?? It would be enough to know the video games with which children spend their time: video games that tell only about dystopian futures in which they have to kill, gut and rape, and get excited about this ??.
This is the affirmation with which Marco D’Amore, actor, director and screenwriter known to most for the interpretation of the beloved Ciro Di Marzio of the Gomorra series, answered a stinging question about the ?? beatification ?? of the criminal figure that a segment of criticism attributes to Sky’s crime drama.
This is undoubtedly a thorny question, at least in relation to the fascination exerted by negative figures, which in the specific case of the interpreter of the main ‘hero’ of Gomorrah led him to stumble, to divert what was ultimately a question lawful and rather complex towards the track of a different medium, little known to the mass and easily attacked between the pages of a newspaper.
It’s annoying. It is even more annoying that the perception of the aforementioned mass audience is that of witnessing the search for five minutes of notoriety by a sector that (perhaps in our country) finds itself chasing other media, in order to exploit justicialism to attack an involuntary slip and grab a few more clicks or shares. But, spoiler alert, this is not the case, and we are the first to distance ourselves from any censorship.
The current of negative reactions to the statements of the actor behind Cyrus the Immortal – misrepresented according to D’Amore – was born because the dozens of very light feathers sown by scholars and representatives of the video game sector, during the constant pursuit of recognition of the artistic dignity of the medium, risk being swept away like nothing when such a hundred-kilo load is dropped dead weight on the printed paper. Which had already happened last April, when D’Amore himself had stated with a certain lightness that ?? who says that with Gomorrah you risk emulation has never seen the violent games of the PlayStation ??.
Then it happens to want to reply to the attacks with an accusatory editorial, or with an apology for video games, tools that on balance are useless, because it is now clear and limpid the total ignorance of the matter that politicians, opinion leaders and many other personalities public have proudly flaunted over the years, throwing real hand grenades between social statements and columns in the margins of the newspapers, as well as influencing – voluntarily or not – even the intervention of the state towards companies in this sector.
And this is how today, instead of letting ourselves go to the hatred of yet another attack on the fragile house of cards that we try to build day after day, we have decided to create a selection of some? Dystopian worlds in which you have to kill, gut and rape? ? among those staged by video games, that is, all according to the Immortal, narrating the gruesome universes that explode deadly in the moral formation of our ‘young’.
Animal Crossing: New Horizons – Sharing
Among the video games set in dystopian worlds that most attack the moral alignment of an infinity of girls and boys around the world, the Animal Crossing series stands out without a doubt. The latest chapter of the Nintendo saga, or New Horizons, debuted in the middle of the first lockdown period, on March 20, 2020, gathering millions of fans in the happy islands that dot the immense ocean.
A series, that of Animal Crossing, which allows the creation of a utopian village in which to give full rein to creativity, putting the imagination at the service of sharing. The impact of the title was very high precisely because of the anti-Covid measures, because the virtual universe of Animal Crossing has turned into a real digital meeting point, transcending the traditional boundary of the medium through a box suitable for all. the ages. Over the course of 2020, the Animal Crossing Islands became the site of protests by Hong Kong’s anti-government protesters, while the Metropolitan Museum of Art in New York is just one of the institutions that have ?? moved ?? your collection on the other side of the screen.
To The Moon – Love
Video games, as we know, lead to the emulation of violent behavior and an inevitable desensitization, probably rooted in the lack of positive values that distinguish them. In fact To The Moon is a narrative work developed by Freebird Games and published in 2011 that tells the life of Johnny Wyles, an elderly man close to death who, behind the inexplicable desire to go to the Moon, hides a colorful story of love, of pain. and of great simplicity.
Thus, the operators of the Sigmund Agency of Life Generation begin a journey through the memories and emotions of the patient in pure style? Eternal Sunshine of the Spotless Mind ??, in order to understand the reasons behind the unusual attraction exerted on humans. from our satellite to artificially implant the memory of a moon landing in the mind of old Wyles. It is then that To The Moon reveals itself as an extraordinary dive into the human psyche that probes hundreds of facets of emotion to create a very rare connection with the gamer, making him the protagonist of a life he never lived. The tears, of course, they are included in the ticket price.
That Dragon, Cancer – Suffering
The dystopian universe staged by video games is so far from reality that it allowed Amy and Ryan Green to transform into an autobiographical interactive work the experience they lived in the company of their son Joel, who at only twelve months of age was diagnosed with a brain tumor that, according to the doctors, would have left him no more than four months to live.
The couple of developers translated the whirlwind of emotions that overwhelmed her from the moment of diagnosis until Joel’s death into a work rooted in exploration which, through a communication based on a series of life cartoons, she managed to give dusting off the concept of interactive art. After all, one of the reasons why today we find ourselves involved in the drafting of this analysis lies in the same term ?? videogame ??, which is the bearer of an inevitably negative semantic value when it comes to ‘serious things’.
Celeste – Battle
Sometimes the violence that characterizes the video game medium finds strange expedients to get to pierce the screen, such as the metaphorical story of the tough battle against anxiety and depression that the small studio Matt Makes Games has staged in his Celeste , a video game in the strictest sense, a challenging and stimulating interactive production supported by an enveloping vintage atmosphere.
Celeste is a difficult video game, steep like the climb that must be climbed daily by anyone who finds himself living with anxiety, depression, the difficulty of accepting himself for who he is. Themes that do not emerge overwhelmingly through explicit narrative, preferring sensations and moods triggered by playful mechanics created with absolute mastery and consistency. In short, an interactive work that in no way betrays “the videogame” defended by the sword drawn by the purists, on the contrary, it elevates it without renouncing the pursuit of a superior message. And knowing what would have been the future history of the creator of the work, everything immediately makes more sense.
The Last of Us Part 2 – Violence
But how, an analysis at times even ironic and apparently embroidered around the communication of wholesome experiences only, ends with one of the most violent video games among those made in recent times? Yup.
Yes, because the very violent and heartbreaking video game packaged by Naughty Dog is an almost perfect manifesto of how darkness should be told while avoiding the risk of emulation, to prevent even the most foolish gesture, such as the simple desire to go to the hairdresser and ask for the same haircut worn by the baby boss O’Track on the streets of Secondigliano, perhaps wearing the clothes of the rampant Blue Blood.
Things that absolutely did not happen in the orbit of The Last of Us Part 2, a video game so powerful and ambitious in its terribly raw narrative that it became an object of hatred by fans; a video game hated also and above all because it treats its protagonists as irredeemable, anti-empathic and suffering figures, without beatifying or saving them.
An incomprehensible position for the large slice of the public forged by a part of contemporary film production, specifically from the modern trend of crime, which took off with Breaking Bad and is currently led by Gomorrah.
A trend that, beware, we feel we can defend on the front line from any attack, without however throwing the first medium that comes within range into the mud of disinformation.
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