Why Hitman (2016) Works

hitman-episode-one-review-501715-22The superpower of the protagonist of most challenge-oriented videogames is time travel. Through the loops of failure and dressage that conventional videogame design depends on, the player fails at a task again and again until they have memorised how to proceed through the events that, on the current playthough, have not actually happened yet. This might be a muscle memory, ingraining in your hands the exact rhythm of movements required for a Rock Band track or a Super Meat Boy level. Or it might be a more traditional memory of remembering placements and patterns: the trap door full of monsters you could not have predicted in Doom kills you once and then, on the next attempt, you’re ready for it. Instead of dying you get a glimpse at what is about to happen. You remember what hasn’t happened yet.

The analogy has been made by various critics in the past (I think Janet Murray might have been the earliest) that the videogame player is not unlike Bill Murray’s character in Groundhogs Day, repeating the same system over and over again: at times taking it seriously, at times playing with the system, at times bored and frustrated by it. The more recent Edge of Tomorrow provides a similar conceit, but is I think more accurate of how videogames train players, killing Tom Cruise over and over again on the battlefield until he makes the exact right movements to get through it alive—exact movements he can only make with the memories possessed from the previous attempts. Edge of Tomorrow is how videogames work to train their players; Groundhog Day is more the wide range of emotions that players go through while existing in such a temporal spiral.  Continue reading

Videogames Without Players


I made a Super Mario Maker level recently called “You Need Two POW Blocks” (7A92-0000-00EB-B2CB). It’s an autoscrolling level, so you can’t go back towards the beginning. At the end of a corridor is a door floating in the air, two grid cells up from the ground. The only way to enter this door is to place two POW blocks on the ground underneath it, one stacked on the other. The only POW blocks on the level, however, are back at the start, and you can only carry one at a time, and you can’t throw a POW block without destroying it. I made this level once I noticed that if a POW block or P-Switch falls on your head while you are already carrying one, it will bounce forward until it lands on the ground. If the player is very careful, they can move a falling POW block by headbutting it down the corridor, and thus end up with two POW blocks at the end of the stage.

mx9uuywThis is probably not a good level, in the sense that no one who has played the stage on Super Mario Maker’s online community is yet to actually complete it. It is frustrating and obtuse, and it is not entirely clear what you are meant to do. Indeed, no one has completed the last four levels I’ve uploaded. Each of them require fairly intricate and fiddly combinations of Super Mario World mechanics that the original game never actually required. On one stage you have to throw a red shell in the air, then do a spin-jump to catch the shell in mid-air and land on a piranha plant to spin-bounce over a canyon with the shell in hand. On that same stage you have to jump on a P-Switch in mid-air, and somehow get a POW block to the top of a beanstalk. Continue reading