In this post, I’m excited to share the journey and insights from my Masters thesis, "Finding Hope Within Hopelessness: An Exploration of Critical Dystopia and its Use in Modern Video Games," which I completed as part of the MA by Research programme at Canterbury Christ Church University (CCCU) from 2017-2018. My work was supervised by Alexander Choat and Prof. Chris Pallant, whose guidance was instrumental in shaping this research.
My thesis delves into the fascinating realm of ludic critical dystopias—video games that use dystopian narratives to engage players with contemporary moral, political, and social issues. This research builds on the foundational work of scholars such as Tom Moylan and Lyman Tower Sargent, further refining the definition of critical dystopia. It examines how these narratives are woven into the gameplay experience through elements like morality-based interactive storytelling, visual aesthetics, and critical textual analysis to uncover deeper symbolic meanings.
The games I focused on were "Fallout 4," "Metro 2033," and "This War of Mine," each offering unique insights into the use of critical dystopia in video games.
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Fallout 4
"Fallout 4" provides a rich ideological exploration of society in a post-apocalyptic state. The game critiques late-stage capitalism with its futuristic satire, exemplified by hyperreal in-game fictional branding and advertising. It also delves into various ideological stances through its factional offerings, including the libertarianism of the Minutemen, elitist militarism in the Brotherhood of Steel, and scientism represented by The Institute. I argued that the game symbolises a post-colonial state of societal development through its real-world historical references and community-building mechanics. This feature links to the critically dystopian aspect by providing a positive, somewhat utopian impulse within an otherwise bleak narrative.
Metro 2033
"Metro 2033" satirises the various ideological stages of Russian (and generally Eastern European) history, including Communism, Fascism, and Capitalism, through its in-game factions. The game incorporates a morality-based point system that subtly allows for more utopian endings based on player actions. If players make altruistic and selfless decisions, the game rewards them with a less bleak and more hopeful ending, hinting at the possibility of coexistence between humanity and the evolved beings known as the "Dark Ones." This contrasts with the canonical ending, where humanity's ignorance leads to the destruction of the Dark Ones using nuclear weapons.
This War of Mine
"This War of Mine" focuses on narrative driven by player choice, with resource management and decisions made when engaging with other NPC survivors dictating the story elements and outcomes of each play-through. The game draws inspiration from real-world historical struggles such as the Sarajevo conflict, highlighting the harsh realities civilians face in war. The critically dystopian element here lies in the game's suggestion that through communal suffrage, sharing, empathy, and resilience, humanity can survive and transcend militaristic and capitalistic ideologies.
My passion for exploring these themes in video games stems from a lifelong interest in both gaming and critical theory. By analysing how these games employ dystopian narratives to engage players with significant contemporary issues, my thesis aims to contribute to a deeper understanding of the cultural and social impact of video games.
Thank you for taking the time to learn about my Masters thesis. I look forward to engaging with fellow scholars, gamers, and anyone interested in the intersection of video games, culture, and society
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