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No Guarantee in the Gray

This article is over 6 years old and may contain outdated information

In Dylan Arenaā€™s paper ā€œVideo Games as Tillers of Soil,ā€ Arena defines a learning area applicable to video games called ā€œaffinity space.ā€ Affinity spaces are usually found outside games. Theyā€™re where players come together to figure out how a game works and how to solve a gameā€™s problems. Say youā€™re going for the speedrunning feat in Shovel Knight. Those massive dragons on the first stage take a time-consuming amount of hits. If you need to watch a video detailing how to skip those dragons, youā€™ve found an affinity space: YouTube. The dynamic between what you learned in one space and how youā€™ll apply it in another is what game director Tracy Fullerton wanted to tap into with her adaptation of Henry David Thoreauā€™s Walden.

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Walden, a Game puts the player in Thoreauā€™s shoes at the shore of Walden Pond to live out Thoreauā€™s experiment. As Thoreau, you must manage basic survival amenities such as food and shelter along with abstract concepts like time and inspiration. Days donā€™t end when youā€™re ready for them to, but as the virtual sunsets. You could spend time earning money to survive winter more easily through upgrading necessities into luxuries, or you could refill resources as-needed and explore the woods to find inspiration.

Inspiration works almost like the rock meter in Guitar Hero. The player gains inspiration by exploring the woods and filling out Thoreauā€™s journal. The more inspired Thoreau is, the more often youā€™ll find new inspirational sources, which fill more of the journal. When inspiration is high, the game world is vibrant. But through exertion, especially through labor, the world turns bleak. The game conveys inspiration through contrast ā€” the bleak grayness signals you to change tracks from maintaining Thoreauā€™s body to feeding Thoreauā€™s mind.

You donā€™t have to roleplay as Thoreau, and youā€™re not told how to, either. Youā€™re given some contextual hints, such as Thoreauā€™s war protest through tax neglect, and some land to grow beans, but ultimately you decide how accurately you want to play as Thoreau. If you want, you can play the game like other survival games: avoid death, grind away time and energy for maximum profit, and focus on quest objectives. But playing this way means playing in a gray world and ignoring what makes Thoreau Thoreau. The character Thoreau then becomes antagonist to your play.

Walden, a Game neither answers nor supplements Walden the book, but acts instead as a portrait of the raw process. If Walden is, as E.B. White said, ā€œmanā€™s relation to nature and manā€™s dilemma in society and manā€™s capacity for elevating his spiritā€ all beaten together, then Walden, a Game places you at the center of the mixing to balance labor and play. The game is a deliberate exercise in applying video game logic and puzzle solving to Thoreauā€™s dilemma of being drawn away from his desires by bodily needs. If inspiration is the rock meter, then Thoreauā€™s journal is your score ā€” your reward for balancing life and living.

There are some hurdles to overcome, as Fullerton has admitted, when it comes to inverting the narrow view of a playerā€™s objective-focused approach back onto their life. In lectures posted on YouTube, Fullerton talks about encouraging this kind of thinking through her game to help players develop a skill applicable outside the game. Even in the safe sandbox of the pond, there is no guarantee that the player will find any radical new perspective. As Stanley Cavell, philosopher and author of the pre-eminent Thoreau deconstruction Senses of Walden, once pointed out, leaving for the pond may be a fruitless endeavor. But itā€™s precisely this lack of guarantee that binds Thoreauā€™s Walden to Fullertonā€™s Walden, a Game.

The play space of a video game is perfect for learning self-reflection. Self-reflection is a difficult objective, and video games operate by hooking their players by their noses with relentless challenges. While both the real and virtual ponds offer no guarantee for personal improvement, the virtual pond is designed to encourage you to improve by providing a place where itā€™s safe to fail. If the player can take instruction and deduce what nobler pursuits await in the game, then they might find some new focus outside the game. Thoreau wrote that he went to the woods because he wanted to ā€œlive deliberatelyā€ and Fullerton hopes she can get gamers to ā€œplay deliberately.ā€


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Image of Jamie Kitts
Jamie Kitts
Jamie Kitts is a Canadian writer from New Brunswick who loves craft beers, tough-as-nails platformers, saunters through walking simulators, and literature. Also managing editor of the Atlantic Canadian Poets' Archive.