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Eileen The Crow: Dark, Mysterious & Terribly Rare



*Spoilers for From Software’s Bloodborne (2015) ahead*

Yesterday was International Women’s Day 2019, and my mind can’t help but wander and consider the female characters that have gained cultural relevance in the gaming sphere. It goes without saying that concerns and critiques focused on the appearances and roles provided to female characters in games are well-documented, with hypersexualization and the championing of the male gaze, misogynistic affordances, and one-dimensional personalities and flimsy roles tightly revolving around male characters all having come to the fore – and rightly so!

Consequently, a few obvious examples that challenge some of these concerns quickly arose, including the legendary Samus Aran of the Metroid series, young Lara Croft of the rebooted Tomb Raider (2013-2018) series, angsty teenager Ellie of The Last of Us (2013), deliciously assertive Chloe of Life is Strange (2015), and the more recent example of gun-toting, no bullshit-taking cowgirl, Sadie Adler of Red Dead Redemption II (2018). However, I found myself interested in discussing a character that I feel is less synonymous with the canon of acceptable female characters in games, and featured in a title that contains varying quality in its representations of women – Eileen the Crow of FromSoftware’s critical hit Bloodborne (2015).

When first meeting Eileen, she’s a lonesome figure standing tall on a dim balcony near Yharnam’s sewers, predictably watching the day descend into a bloody night. Approaching her for the first time with my player-character, I was pleasantly surprised when her raspy yet cool voice, muffled under her plague doctor mask, welcomed me to the hunt. Clad in a black coat composed of ruffled crow feathers, arms tightly crossed, and her gaze never leaving the sight of the player-character, her intimidating stance only enhanced the warm sternness of her tone as she introduced herself. Eileen states that she is a ‘hunter of hunters’, a hunter that seeks out peers that have succumbed to their inner blood lust during the night of the hunt, releasing them from their beastly states with her much coveted weapon, the Blade of Mercy. The pairing of her introduction and welcome with her age quickly establishes Eileen as far older and wiser than the player-character.

The first encounter with Eileen the Crow sees her taking an assertive, almost disapproving stance, seemingly waiting for night of the hunt to commence.

As her story arc progresses, I noticed that despite her harrowing occupation, there’s a certain sensitivity expressed by Eileen throughout her relationship with the player-character, one that is reflected in her words of friendly encouragement and steely advice. Though this could be perceived as maternal in nature, fitting the theme of motherhood that permeates the game, I received her expression as falling more into the realm of a knowledgeable friend, or a reliable ally. This is particularly evident if Eileen’s arc is not completed and she subsequently becomes hostile toward the player, accusing them of embracing hunt-induced blood lust and abandoning their humanity – an interaction unlikely to occur if she perceived the character like offspring. Despite this potential conclusion to her story line which sees her become an unrelenting adversary, however, Eileen (and her aforementioned sensitivity) challenges the ‘tough’ female character stereotype that we see not only in games, but also in other media such as film.

Eileen successfully subverting the strong female character stereotype is most explicitly depicted toward the end of her story arc, when she can be found heavily wounded and bleeding out atop the stairs of Yharnam’s grand cathedral. As she warns the player-character not to confront the enemy that has bested her, her demeanor softens – while this could be influenced by her dying state, the dissolution of her stony tone into one of concern signifies an expression of trust and care as opposed to peaceful resignation. If the player-character successfully defeats her adversary, she will lightly scold the player while humbly resigning herself to end of her own hunt, bestowing the player-character, her chosen successor (or depending on how you see it, mentee), with her hunter badge (i.e. unlocking her unique weapon). Thus, Eileen is written in such a way that extends to her some emotional nuance, and while this scene does play into the mentor-mentee trope we often see in the action-adventure genre, so rarely do we see it occur with a female mentor – and an elderly one at that.

Overall, in representing a sorely absent demographic in games (middle to old-aged women), subverting the stereotypes and tropes typically associated with older women such as languidness and dependency (a lack of agency), challenging the strong female stereotype by expressing genuine trust, vulnerability, and encouragement, and replacing what could have easily been written as a male mentor for the player-character, Eileen the Crow is a character that seems almost radical in the landscape of digital games right now. Such a rare representation deserves more recognition and attention in the broader public conscious in games and their narratives.

Yet, Bloodborne itself is by no means an inherently progressive work. There are numerous characters that fall into unfortunate stereotypes, and one which clearly falls into the tropes surrounding older women that Eileen herself challenges. Also, many of the female characters encountered in the title are depicted in abject contexts relating to their bodies, with some neatly falling into the realm of scholar Barbara Creed’s famous term, the ‘monstrous feminine.’ The themes of desire, conception, birth, and motherhood that are pervasive throughout the game are seemingly carried by these ‘grotesque’ characters, reflected in some of their personality traits and actions (The Doll and Iosefka swiftly come to mind). While my own experience with Bloodborne didn’t necessarily equate these depictions as being wholly negative, there is more than enough room to perceive such representations as exploitative, harmful, and once again, positioning women as one-dimensional plot devices designed to both horrify and entertain – a setup that hasn’t escaped critique.

The female characters of Bloodborne aren’t necessarily written with the same edge as Eileen.

However, in the world of FromSoftware’s Bloodborne, and in addition, the Dark Souls series, some female characters do play integrally important roles, or are endearing secondary figures. They are perhaps nuanced enough in their depictions to argue that they are interesting, rich characters. Key examples in this include Priscilla, Lady Maria, or Quelana. However, these examples clearly fall under the banner of ‘some’ – others aren’t well written or intriguing, seeming shallow, placid, and mere models. One particularly disappointing depiction for me is Ciaran, one of the powerful four knights of Gwyn, in Dark Souls (2011), who is only met briefly, and in relation to her implied love interest. A missed opportunity. In a way, how Bloodborne and the Dark Souls series depict female characters inconsistently is reflective of the video game industry itself – while progress is slowly being made and can be seen in the recent slew of enjoyable female characters in mainstream and indie titles alike, the traditional structures and gaming culture linger and continue to impact the presence of diversity within the industry, and in doing so, arguably take away from the richness of the characters we experience.

As a result, there’s still a lot of work to be done to improve diversity in the industry. Regarding women specifically, in the last year alone we’ve seen the games press shed light on the sexist working environments and contexts experienced by women at major developers. Kotaku’s Cecilia D’Anastasio’s investigative work into Riot Games’ treatment of prospective and current female employees, and former Arenanet narrative designer Jessica Price’s firing over a seemingly innocuous social media conversation are two major topics that come to mind. Moreover, while the controversy may be ‘over’, Gamergate’s hateful rhetorics towards women undeniably lingers in the comment sections of female professionals in the industry, signaling that the deeply misogynistic beliefs and attitudes in video game culture still explicitly exist. Relating this to representation, even this week we saw Rape Day, a visual-novel that sees the player-character afforded the ability to rape women amidst a zombie apocalypse, reported to have been on its way to Steam’s catalog – and perhaps would have made it, if it hadn’t received attention from the mainstream games media and vigilant social media users.

In thinking about International Women’s Day, I hope we can reflect on, and unite in trying to create a future in games where diversity is championed, the old structures dissolved, the culture as inclusive as opposed to radically exclusive. I have no doubt that gaming audiences are becoming increasingly broad and will be thirsty for games that seek to tell stories with characters that deserve to be celebrated – characters like the dark, mysterious, and terribly rare Eileen the Crow.

J. Elliott is a PhD student in Media and Communication. When she’s not fueling her caffeine addiction, you’ll usually find her reading, writing, or resisting (but ultimately succumbing to) the urge to re-play Bloodborne, Dead by Daylight, The Witcher 3, or Nier: Automata again.

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Junked: Coming Back to Life in ‘Detroit: Become Human’

Quantic Dream’s games have always leaned into horror, even if the chief genre might not be. Detroit: Become Human is no exception.



Detroit Become Human

Quantic Dream‘s games have always leaned into horror, even if the chief genre might be something else entirely. Detroit: Become Human is no exception, with much of the game revolving around our android protagonists finding themselves in one horrendous situation after another. The most terrifying of all, though, is Markus’ trip to a junkyard afterlife.

After being shot in the head during an altercation, Markus looks to be dead. Since player characters could indeed die in previous Quantic Dream games, it wouldn’t be out of the realm of possibility for him to have been killed off either. What awaits Markus on the other side of consciousness, however, is one of the most horrific struggles for survival ever waged.

As Markus awakens in a junkyard for discarded androids, he finds himself immobilized and terrified. Played by Jesse Williams (the sort of chiseled hollywood hunk that only seems to exist on network TV), Markus’ destroyed facade is all the more horrendous for the juxtaposition to his previous appearance.

Detroit Become Human

As the player embodies Markus, they are thrust into a nightmare realm of discarded android dreams. Like a metallic graveyard, filled with the shambling dead, the junkyard is a place so nightmarish it nearly defies explanation. Add to this the stress of Markus’ shattered form, and you begin to get a knack for just how unsettling this chapter of Detroit: Become Human truly is.

While not everyone is a fan of Quantic Dream’s trademark QTE-filled gameplay, it is used to maximum effect here, as the player is truly transposed into Markus’ desperate situation by the control scheme. You begin by alternating L1 and R1 to slowly drag Markus’ shattered body across the tumultuous landscape. The long presses and holds of each button help to relay the pain and effort of Markus’ struggle for survival.

It only gets more horrific from there, as Markus must tear off body parts from other fallen androids in order to rebuild himself. The legs must come first, as mobility is key in a place like this, but with the added moral complications of the other androids begging you not to harvest them for parts, the struggle takes on a nasty new dimension.

Detroit Become Human

A particularly stirring, and disturbing, moment sees Markus moving between two closely stacked piles of android remains. Like sidling between two close-together buildings, Markus shuffles his way through, sidelong, as dozens of hands reach out for his help, and the cries of the dying paralyze his senses.

As mentioned above, the control scheme really embodies the horror of what you’re being forced to do in order to survive here. Whether tilting the analog stick to pop out an eye or tapping the X button consecutively to wrench a limb free, the act of becoming a self-made Frankenstein’s monster is not a pleasant process to endure.

The rain-drenched landscape and lonely darkness of the junkyard only add to the chilling horror of this world. Science fiction is often at its best when it shows us a pristine utopia, before turning it over to show us the horrific consequences that come as a result. Here Detroit: Become Human soars, showing us a world where machines can save us from destroying our bodies with manual labor and android doctors never make a mistake.

It’s a world where androids do the dirty work of the US military and undertake the home care of the elderly, freeing us from the sights we’d rather not see. The trade-off, though, is grisly, and the discarded robot graveyard is just one of the first inklings of how ugly this future can be when one looks too closely.

The quasi-messianic character of Markus is only one facet of this troubled world, and while some of Detroit: Become Human may lack in subtlety, it manages to create an effective, evocative look at what could be our own future one day. This sequence is just one striking example.

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Game Reviews

‘Shovel Knight: King of Cards’ and ‘Showdown’ Review: Really Spoiling Us

It’s a Yacht Club Games overdose this holiday, as the Kings of Kickstarter are back with two new entries in the Shovel Knight franchise.



It’s a Yacht Club Games overdose this holiday season, as the Kings of Kickstarter are back with, not just one, but two new entries in the Shovel Knight franchise. Not content with just releasing another new character’s twist on the original formula, Yacht Club have also developed their own fighting game in the Shovel Knight universe. It’s to the developer’s credit that two simultaneous releases can be of this quality, but valid questions can also be asked as to whether the original formula has gotten stale, and whether Showdown’s new concept does the series justice. Fear not, for both questions will be answered in this bumper, two-for-one review!

Shovel Knight: King of Cards

King of Cards is the latest re-tread of Shovel Knight, and this time the emperor’s new clothes are the regal duds of King Knight, who is on a quest to become the greatest player in the kingdom of the card game Joustus… without really having to beat that many people at it. After the stoically heroic Shovel Knight, the dastardly cunning Plague Knight, and the broodingly enigmatic Spectre Knight, King of Cards’ protagonist embodies an enjoyable dose of pompous entitlement. His quest isn’t all that noble, and he really can’t be bothered to do a lot of hard graft to reach his goal. Thanks to the typically witty script, King Knight shines as a loathsome oik who doesn’t pay attention to any advice he’s given, and would rather have a fight, or cheat, than actually get better at Joustus.

Shovel Knight
This a late-game bout of Joustus, which shows how complex it can get.

Joustus might not really be all that important to King Knight, but it adds an entirely new element to the traditional Shovel Kinght gameplay. Those players who are a sucker for a built-in card games (myself included) will find a lot to enjoy when stepping away from all the platforming and fighting to engage in a round of Joustus. The game is played by placing cards, one at a time, onto a grid with the goal of having more of your cards placed on top of gems than your opponent.

All cards contain abilities and can be used to shove opposing cards out of the way (and off the gems), with advanced cards used to blow up, slam or recruit those of the other player. It all starts off simple enough, but can get really brain-taxing as the story progresses, and grows to be a real highlight of the game – and one of the better card-games-within-a-game I’ve played. Cheat cards can be bought to give you a leg up for trickier opponents, especially as the winner of each game gets to take one (or three if you control all gems at the end of the round) card from the loser.  

Shovel Knight
Platforming at its satisfying best. Y’know, without actually touching the platforms.

Outside of Joustus, King of Cards will feel pleasingly familiar to fans of the series. As in previous entries, the levels all share the same look and gimmicks as the original Shovel Knight, but are reshaped to adapt to the new abilities of King Knight. He has a shoulder barge attack that launches him forward, across gaps if need be, and will send him into a spin on contact with enemies or certain types of walls and blocks. This spin move acts very much in the same way as Shovel Knight’s shovel pogo attack, and allows King Knight to bounce around levels with impressive finesse. Anyone who’s played Shovel Knight before knows the drill now – try and clear every screen by chaining together as many bounce attacks as you can. It’s the law.

Shovel Knight
Familiar foes return, but the way you deal with them is the same!

It also wouldn’t be a Shovel Knight game if there weren’t a ton of unlockable moves and buffs. Amongst the best unlocks for King Knight are a Tazmanian Devil-esque tornado spin that allows him to climb walls and smash up enemies, a hammer that produce hearts with each wallop for precious HP, throwable suicide bomber mice, and the ability to stand still and have a big ol’ cry to regain HP. Something we can all relate to.

The world map returns, and is in its best guise in King of Cards. Levels are now a lot shorter than you’d expect – there’s typically only one checkpoint in the non-boss levels – but there are a lot more of them, and a large number have secret exits to find. They’re interspersed with the multiple opportunities to play Joustus, and with the seemingly random appearances of traditional Shovel Knight bosses who show up, Hammer Bros. style, on the map to block your progress. It makes for a really tight campaign that’s filled with a ton of variety.

The floor is literally lava!

It seems almost arbitrary to say, but if you like Shovel Knight and you’re not tired of the standard gameplay, there’s so much to enjoy with King of Cards. He’s probably not the most fun character to play as (for me, that’d be Spectre Knight), but his game is easily the most diverse. He’s just such an enjoyably unlikeable idiot that you’ll constantly be playing with a smile on your face, bopping along to the classic Shovel Knight chiptunes, pogoing around levels and pausing for the occasional game of cards. Who could ask for more?

Shovel Knight Showdown

Who likes Shovel Knight boss fights? Everyone does, right? How about fighting three of them at once in an amalgamation of Smash Bros. and Towerfall? It’s as chaotic as you’re imagining, and seems like a total no-brainer as a second genre for Yacht Club to transpose their blue, spade-loving hero into.

What seemed like an obviously smart move doesn’t necessarily play out in an ideal way. The one-on-one fights in Showdown are as tightly-contested and entertaining as ever, but the multi-man rumbles are absolute mayhem. There are a few different stipulations applied to fights, and these typically involve simply whittling down your opponents’ lives, or depleting their health bar to briefly kill them off and steal any gems they’ve collected from around the level, with the winner being the first to an assigned number.

Shovel Knight
I found it best to just try to escape in every multi-man level.

Standard fights are more enjoyable, as the simplicity of smacking seven shades of snot out of the competitors keeps things manageable amongst the cacophony of onscreen visual noise. The gem-collecting levels, especially with multiple opponents, are frankly a bit of a mess that I rarely found enjoyable.

Perhaps I’m just not very good at Shovel Knight boss fights, but the game felt overly difficult even on the normal setting. Playing story mode often sees your chosen character up against three opponents on the same team, and when it comes to collecting gems from around the level, they’ve got way more of the space covered and you barely get a chance to breathe with them swarming you from the word go. It’s basically an exercise in getting wailed on while you try to run away and scramble for gems, and it’s just not that fun.

If the whole game were 1v1 I’d have more fun, but it’d be a bit pointless and unsubstantial.

What does add a layer of fun to the game is the chance to play as the complete ‘Knight’ roster of Shovel Knight characters, and the best part of Showdown is learning new moves and trying to find your ‘main’. Perhaps, with more time to sit down and learn the move sets in the practice mode, the game would feel more rewarding than if you just jump in and try to slog through the chaotic story mode like I did.

With a four-player battle mode as the only other gameplay option, Showdown was clearly never meant to be anything other than a brief little curio to give fans of the series’ boss fights an overdose of what they love, but as a complete experience I found it lacking in both modes and reasons to keep plugging away at the arcade fighter-style story mode. It turns out that the boss fights in Shovel Knight are more fun at the end of a platforming level rather than in the middle of enclosed space filled with flashing lights, random effects, environmental hazards, and three bastards all chasing you down. If you can handle all that stress, you’ll have a much better time than I did.

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Game Reviews

‘Disco Elysium’: A Thought-Provoking Mystery



Disco Elysium Review

For the most part, the majority of games are easy to classify, but from time to time a game is released that defies conventional rules and resists simple categorization. Disco Elysium is just such a game. On the surface of it, it’s a topdown, isometric RPG of the oldest of old schools. It draws upon long-established systems, structures, and mechanics that make it comfortably familiar. However, beneath that patina of tradition lies something completely unexpected and utterly unique.

Developed by the small, independent studio ZA/UM, with a story penned by Estonian novelist, Robert Kurvitz, and a painstakingly detailed world crafted by artist Aleksander Rostov, Disco Elysium stands apart from most RPGs in that it is startlingly realistic whilst simultaneously being grimly fantastical. Set on an isolated archipelago in the wake of a failed communist revolution, the game casts players as a detective sent to solve the murder of a man found hanging in the backyard of a rundown boarding house/cafe. It’s a simple setup made all the more complex by the fact that the player character is suffering from a severe bout of alcohol and drug-induced amnesia. The mystery that needs to be solved concerns piecing together exactly who the player character is, as much as it involves reconstructing the chain of events that resulted in a brutal death.

Arriving at conclusions to both conundrums requires navigating complex webs of social and political intrigue. Along the way, players will encounter union bosses, disgruntled workers, war veterans, and all manner of extraordinary and mundane citizens just trying to go about their daily lives in a place that seems designed to thwart their ambitions at every turn. More than that though, players will be required to engage in continuous internal dialogues that involve the protagonist gradually putting themselves back together. The result is character customization in a quite literal sense of the word. Rather than the standard array of physical options that most games of this type present players with, the options are entirely psychological. Player actions and choices determine the overall structure of the internal workings of their character. Whether they decide to be a high-minded idealist trying to better themselves and the world around them in whatever way they can or opt to descend into anarchic, hedonistic self-obliteration such choices determine exactly who and what their version of the character is.

The foundation of stats and skills that are usually inert background components that all RPGs are based on is firmly in place. However, rather than being a numerical bedrock upon which all gameplay is based, Disco Elysium takes those sets of modifiers and statistics and makes them an active part of character progression and world development. As you progress through the game, skills points can be used for a variety of purposes. They can be used to upgrade core character stats, of which there a total of twenty-four covering a whole range of mental, physical, and social attributes, that govern player’s ability to immediately interact with the game world. However, they can also be used to learn or forget particular thoughts These thoughts develop depending on how players decide to approach situations and solve problems and can unlock semi-permanent bonuses and even penalties.

Disco Elysium Review

Much as in reality, the things the character is capable of are largely dependent on their frame of mind. If players opt to make a character that is brash and uncouth then they will find it difficult to subtly manipulate interactions to their benefit or arrive at unobtrusive solutions to various situations. On the other hand, if they elect to play a character that is more thoughtful and introspective, or cunning rather than crass, then they will find it difficult to emerge unscathed from more physical challenges. It’s an interpretation of character development and player progress that feels much more organic than in any other game of this sort. This is probably where Disco Elysium does the most to stand out from other such titles. Such a flexible approach to progress is hopefully something that other companies will emulate going forward, as it allows the character to develop a true personality that goes a step beyond the mathematically-oriented, incremental statistical increases that are usually the norm.

Disco Elysium Review

The ways in which player action, character interaction, and game reaction combine together is probably the closest it is possible to get to a truly curated dungeon master-guided play experience in an RPG. There is such a wide and unpredictable variety of moment-to-moment options that players can never be certain what exactly is going to happen next. This sense of improvisational unpredictability is a quintessential element of any RPG, but it is often lost in translation from tabletop rules to computer game mechanics. This pitfall is avoided thanks to the fact that the world of Disco Elysium was conceptualized as a tabletop game but doesn’t actually exist as one yet. As such the developers were able to implement systems without the expectation of adhering to pre-existing mechanics. This expectation has often been the downfall of many such games in the past, such as the much-maligned Sword Coast Legends which was lambasted for its apparent butchery of the 5th edition Dungeons and Dragons ruleset. It will be interesting to see if Larian Studios can avoid similar problems with Baldur’s Gate 3.

Disco Elysium Review

As intriguing and unconventional as Disco Elysium is, and no matter how deserving it is of the accolades it won at 2019’s Game Awards, it’s hard to recommend it as something to play if you’re looking for fun. It’s relentlessly grim even when it’s trying to be funny, and its stream of consciousness style makes even the most basic of interactions a minefield of potential disturbing possibilities. With its biting combination of continental existentialist ennui, pseudo-Lovecraftian undercurrents, and socio-political critique it isn’t a game that you play for the sheer joy of it, but rather for the esoteric and unusual experience that it offers. That being said, in a market that’s full to bursting point with crowd-pleasing blockbusters and oftentimes strictly by-the-book sequels or carbon copy titles, it can be incredibly rewarding to delve into a game as intricate and nuanced as Disco Elysium.

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