Project 1 - Task 8 - Critical Perspectives on Dystopian Video Games

Alys

So, dystopian games—right? They're basically where society totally falls apart, usually in some pretty thought-provoking and, let's be honest, terrifying ways. And I mean, one of the best examples has gotta be *Bioshock*, right?

Rhys

Yeah, absolutely. *Bioshock* does an incredible job of immersing players in its world. You’ve got this crumbling underwater city, Rapture, as the backdrop. It’s brimming with these oppressive, authoritarian vibes. And—well—the narrative is just…rich, wouldn’t you say?

Alys

Totally! And it’s not just the story, but like, the atmosphere makes you feel trapped in this, well, dystopia. It’s so much more than just visual design—it fuels the whole experience. But, uh, stepping back for a second—what makes a game dystopian in the first place, you think?

Rhys

Good question. So, at its core, a dystopian game tends to reflect societal anxieties. They take fears we see in real life—authoritarian rule, societal collapse, ecological calamities—and crank them up to eleven. It’s about asking "what if?" but in the most unsettling ways, you know?

Alys

Yeah, like, they kinda shove you in these oppressive or broken worlds that just refuse to let you look away. And as a player, you’re stuck navigating it all—whether that’s fighting through the chaos or just, ya know, surviving day to day.

Rhys

Right. And what’s really interesting is how these dystopian settings impact the game’s narrative progression—and player engagement, of course. They create tension, stakes, and, in some cases, a strange sense of hope amidst the wreckage. Always fascinating to dissect how those layers stack up.

Alys

Exactly. Which is where critical theories come in! Like, when you really start digging into these games with, say, a Feminist perspective or Ecocriticism—it’s like peeling back even more layers. You suddenly start seeing all these deeper messages in, like, everything—the dialogue, the environment, even the gameplay mechanics.

Rhys

True. These theories act like lenses, helping us uncover the ideologies baked into the games. For instance, Marxist Theory could highlight how class struggles are portrayed. And Postcolonialism might reveal how cultural narratives get framed or, in some cases, sidelined entirely.

Alys

And it’s wild how much these theories can change the way you view a game. Like, things you wouldn't notice before suddenly just click. Oh man, I already wanna dive into some specific examples, like applying these lenses to actual games.

Rhys

Yeah, me too. But before we get to that, we do need to acknowledge how these critical theories—

Alys

Hold that thought—we’re just getting warmed up!

Alys

Okay, picking up from where we left off—one game that’s just brimming with material for critical analysis has to be *The Last of Us*. It’s fascinating from any angle, really, but looking at it through a Feminist lens? Oh, there’s so much to dig into! Like, Ellie isn’t your typical female protagonist at all. She’s raw, complex, fierce, flawed, emotional, driven—basically, she’s a fully rounded person, ya know?

Rhys

Exactly. And what’s fascinating is how the game really leans into that complexity without reducing her to stereotypes. It also doesn’t shy away from addressing how societal structures impact the characters differently based on gender. I mean, you’ve got scenes that—

Alys

Oh, like that one with David! His obsession with power—it’s so unnerving, but it’s also this, like, massive critique on patriarchal control. Ugh, it’s so uncomfortable to play through, but that’s the point, right?

Rhys

Absolutely. And in addition to that, you’ve got this entire backdrop of environmental decay, which brings in the Ecocritical angle. The world of *The Last of Us* doesn’t just reflect physical collapse—it’s a direct consequence of humanity’s exploitation of nature. It’s subtle but deeply embedded in the way the entire world feels unbalanced.

Alys

Right! And it’s not just visual—or even just narrative—it’s in the way the gameplay works, too. The constant scrounging for supplies, the scarcity of resources? It’s like the environment isn’t just a setting, it’s an antagonist. It’s saying, like, "Look at this mess humanity caused and how people still find ways to exploit it."

Rhys

Exactly. And using a framework like the MDA—Mechanics, Dynamics, and Aesthetics—you can break down how those design choices amplify the narrative’s themes. Like, the limited crafting system reinforces the notion of scarcity, forcing players to make tough, almost moral decisions that mirror the characters’ struggles.

Alys

Oh, that’s such a good point. And, and the art direction—how everything’s overgrown and reclaimed by nature—there’s this, like, eerie beauty in it. It’s like, nature’s winning but…not in a good way, you know? Like a visual metaphor for how humans just, well, don’t get it.

Rhys

True. The juxtaposition of beauty and decay really drives home the environmental themes. It’s not just about survival but about humanity’s relationship with the world and how fragile that relationship is. You see that reflected in the characters’ stories, too—Joel and Ellie’s bond, for instance, feels like this tiny spark of hope in a world that’s otherwise devoid of it.

Alys

Yeah, and I love how it, like, challenges players emotionally, even outside the gameplay. But okay, this is such a deep dive into one game. What about drawing parallels or contrasting with others? There’s so much more to explore!

Alys

Alright, so, taking that idea of exploring other games—I’ve got two that are just begging for comparisons: *The Outer Worlds* and *Papers, Please*. They’re both dystopian, super thought-provoking, but wow, they tackle the genre in such different ways. Like, with *The Outer Worlds*, the satire is front and center, right? Everything’s this exaggerated critique of corporate greed and class exploitation. It’s very, like, "in-your-face."

Rhys

Exactly, and that’s what makes it such a prime candidate for Marxist analysis. The game is built on this foundation of class struggle. The mega-corporations control everything—and I mean everything—including the people’s language, their lives, their…even their deaths, really. The "Halcyon Colony" is loaded with this grim humor about free-market exploitation.

Alys

Oh my gosh, yeah. Like, you’ve got this ridiculous idea of employees being "leased" to companies from birth. It’s shocking but kinda close to real life, don’t you think? The Marxist perspective is screaming, "Hey, wake up! This isn’t just fiction—it’s our world, just dialed up."

Rhys

Right. And what’s interesting is that it also offers moments where you, the player, can critique or even subvert those systems through your choices. It doesn’t just depict dystopia; it gives you the tools to resist it, however small those actions might feel in the grand scheme.

Alys

Totally. And then you’ve got *Papers, Please*, which tackles a similar theme but from, like, the completely opposite perspective. Instead of mocking systems of power, it shoves you right into the thick of them. I mean, you’re a mid-level cog enforcing oppressive rules—

Rhys

And that’s what makes it so brilliant. From a Postcolonial lens, *Papers, Please* is all about power dynamics. It puts you in the role of the gatekeeper, literally controlling who gets to move between borders. There’s no winning, really, because every choice feels morally ambiguous. Are you perpetuating the same systems you despise, or are you just trying to survive?

Alys

Exactly. It’s like the mechanics force you to question your own role in upholding these, uh, broken institutions. And Postcolonialism also adds this layer of "otherness" to the gameplay—who’s allowed in, who’s deemed worthy? It almost weaponizes your empathy, you know?

Rhys

For sure. And what’s so clever about *Papers, Please* is how it strips everything down—the visuals, the gameplay, even the dialogue—to make you focus entirely on those power imbalances. It’s oppressive, but in a way that’s completely intentional to the experience. The personal stakes—feeding your family, avoiding punishment—heighten that tension.

Alys

Right, and I love how it challenges you to recognize these structures in real life. There’s so much to unpack with both games. Oh, and speaking of unpacking, it’s time for my "Spot the Trope!" segment! Let’s do this—

Rhys

Okay, I’m ready. Hit me.

Alys

Here’s a fun one: "The savior protagonist," which tends to pop up in these dystopian narratives. Now, *The Outer Worlds*, totally leans into it, don’t you think?

Rhys

Oh, absolutely. The player’s character is basically designed to be a liberator. Their actions can dismantle the corporate powers—or reinforce them, if you’re in a particularly nihilistic mood. Either way, the narrative aligns your role with this trope, though it adds a self-aware twist with all the satire.

Alys

But with *Papers, Please*, that trope is completely absent—because you’re not "saving" anything. If anything, you’re making the system worse while justifying it to yourself. It’s so bleak but brilliant.

Rhys

It’s a stark contrast, for sure. Where one empowers, the other disempowers, and that shift in perspective really highlights how varied dystopian games can be. They’re not just telling stories—they’re making players identify where they stand in those systems.

Alys

Exactly. And for game designers, this is such a huge takeaway: use tools like Milanote to map out these critical layers early in the process. You can build narratives that actually mean something instead of, like, just recreating the same tropes we see everywhere. Like, get creative!

Rhys

Absolutely agree. By consciously applying frameworks, like critical theories or design systems like MDA, you can create experiences that challenge players instead of just entertaining them. That’s the magic of thoughtful game design—it pushes the medium forward.

Alys

And pushes players to think, too. And honestly—what more could you want from a game? But that’s it for today! Thanks for listening, everyone. This was so fun to dive into.

Rhys

Definitely. Can’t wait to see what more designers come up with by exploring these themes. Until next time.