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Ecology Review – Elden Ring

Coming off my Halo: Infinite review (where I applied a serious eco-critical lens1 to a big game because I thought it would be funny), I’ve now done the same for Elden Ring, which has proven more difficult to talk about cohesively. Its merits go a lot further in regards to complex symbolism and literary ambition (even in world construction and micro-biomes), but it fails to enliven its ecology in similar ways that most videogames fall prey to.

So what is it saying about the natural world? Can its failures be pinned on the RPG genre? Are there any dense forests that take more than a minute to walk through? Let’s find out together.

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Growth and Regrowth (2-Year Dev Retro)

Two years ago I started making a videogame.

Before starting my 7th semester of college, I prepared to talk with my professor about a free-form project for CIS 690 – a tech elective where you pitch, perform, and reflect on whatever you want. It was about 1 hour before I walked out of my neighboring apartment onto the campus to talk with him that I deemed the moment salient to choose what the subject of my project would be. I had some ideas written down, picked one for a few good reasons, and continue to this day working on that project at a healthy and generous pace.

The game – now called Disharmony – has changed a lot since then, as I would imagine most do from inception to production. But through planning, prototyping, reading, painting, playing, thinking, and doing nothing at all, it has taken on a different meaning entirely while retaining the shape I thought of on that day. It’s these forces of change and holding onto the central shape that I want to talk about, even only partway through this journey, since the act of finding what’s worth keeping in an oddly-growing game is the never-ending challenge of the craft.

(featured painting is Premonition by Remedios Varo)