Global Gaming Spotlight: Every Day the Same Dream (Italy)

With each post in this mini-feature, I highlight a game from a different country around the world. Keep in mind these aren't necessarily the best or most popular games from each nation, but simply a fitting representative.

Every Day the Same Dream - Molleindustria, 2009 (play it here)

I recently wrote a lengthy essay sparked by Molleindustria's newest game, Unmanned. Although the most famous videogame character of all time may be a fictional Italian, Italy hasn't had a huge history as a mainstay of the games industry. Recently, though, they've emerged with a number of high profiles in independent gaming, like Molleindustria and Fotonica creators Santa Ragione.

Every Day the Same Dream is about daily routine. It's about finding inspiration in the little things that break up this constant rhythm of adult life. While Molleindustria is known for its sociopolitical work--which is fantastic, by the way--this game is more about personal struggles. The developer also writes a fantastic blog on their site that's worth reading even if you don't play their games.

While the mainstream gaming industry doesn't want to touch politics with a ten-foot pole, Molleindustria embraces the concept of games as an activist medium. And their work is often not about the games' mechanics or "winning"--they're about sending a message or finding a feeling.

On the advent of "slow games"

My former professor at George Mason University, the venerable Mark Sample, gave a talk at the University of Kansas yesterday entitled "Playing without Power in Videogames." He focused on the pervasive trope of games as power fantasies, making the player-character more powerful as a game progresses. Professor Sample showcased a few games that reverse this paradigm by stripping power away or least twisting it in some way--JFK: Reloaded, Calabouço Tétrico, and Italian studio Molleindustria's new title, Unmanned.

Unmanned

Unmanned is about a U.S. military drone operator working at a remote base in the (American) desert. Instead of blowing up terrorists, the player spends most of their time controlling the man's daily routine. Waking up, shaving, driving to work, flirting with the coworker, playing videogames with the son at home, trying to fall asleep. It's a commentary on the United States' drone strikes as well as on games as a medium. You can play it here.

It reminded me of another game by Molleindustria I played in Prof. Sample's "Videogames in Critical Contexts" class a few years ago: Every Day the Same Dream. Another quiet, pensive game about playing the routine of a middle-aged man's daily schedule to and from work. You can play it here.

Why this focus on slow-paced routines? Along with the stripping of power comes with the stripping of speed and action. We bemoan today's ADHD game culture; big-budget titles are about quick sensory overloads of gratuitous violence, and successful casual games are about playing in two-minute Angry Birds intervals. But beneath the surface, game design has seen a huge shift in the other direction. Maybe it's a reaction to the chaotic post-9/11 world or simply a product of better technology, but the past few years have been a boon for slow games. There have always been hints of slowness in games, from Cyan's Myst to Nintendo's The Legend of Zelda. But we're starting to see works where the slowness is the entire conceit of the game.

Shenmue

One of the first prominent examples of slow gaming was Sega's Shenmue, ahead of its time in 1999. Alexander Galloway calls this "pure process" in the first chapter of his book Gaming: Essays on Algorithmic Culture.