So I have a theory that everyone in Splatoon is secretly a cannibal.
Okay, maybe not everyone -- because I have my
doubts that shopkeepers like Sheldon and Crusty Sean could even take a good
bite out of someone. But you’ve seen the
Inklings by now, right? Every time they
open their mouths, they show off some seriously sharp chompers. TV personalities Callie and Marie casually
talk about eating seafood, and both of them wear sushi-style hats. Chalk this up to headcanon, but are we 100%
sure that Inklings that lose an Ink Battle aren’t
eaten alive as punishment?
Maybe death just has no meaning for these undersea
people (who live on the surface for some reason). They reincarnate endlessly during an Ink
Battle, after all. But it may go further
than that; lose a battle and go back to the lobby, and you’re a different color
than when you started -- so maybe the losing Inkling got devoured, and you
start playing as a substitute. Or if you
win and go back to the lobby, you play as an Inkling who dug your original
Inkling’s fresh styles, and adopted his/her outfit to pay tribute (and try to
look cool). That’s probably not the
case, but hey. It gets the gears going.
In some ways, that might be what makes Splatoon secretly great -- because even
in the absence of an hours-long narrative, I can’t help but feel excited by the
game’s world. Learning more about
it? That’d be preeeeeeeeeeeeeeeetty coooooooooooooooooool.
The story of Splatoon
is about as straightforward as you’d expect. Like I said last time, the land-faring sea
creatures of the game’s world only care about Ink Battles and looking
cool. The tradeoff? That means they’re taking a pretty
laissez-faire approach to having their key source of power, the Great Zapfish,
stolen from under their squid-noses. But
if you take your Inkling over to a corner of the map, you’ll be able to dive
into a sewer grate and pop up in a new area -- and more importantly, receive
your mission.
Right off the bat, you meet the seasoned
veteran/bulgy-eyed coot Cap’n Cuttlefish, who explains the problem: the Great
Zapfish (along with dozens of other Zapfish) has been taken prisoner by the
Octolings. If you want to stop their
shenanigans, you’ll have to don special armor and become Agent 3…as an
impromptu stand-in for Agents 1 and 2.
And so begins your campaign, as the sole member of a squid platoon. A “puid”, if you will.
I feel like there’s a better title in there
somewhere, but I can’t come up with anything, so let’s move on.
The single-player mode is a very different beast
from the multiplayer. The latter is hurried
and chaotic, while the former is by design much more leisurely. Barring the occasional mad rush, you’ll
probably end up taking your time -- mostly because it’s a fusion of a
platformer and a shooter, which means that one wrong move will send you falling
to your death. I’ll say upfront that
those looking for an adrenaline rush should probably avoid the single-player
altogether; it’s not bad by any means, but it’s a leisurely stroll from one
challenge to the next. It’s not exactly
stressful, which is obvious since there’s nothing even resembling a timer. You’ve typically got all the time you need to
make your move.
I’d say that one of the mode’s greatest strengths
is that it manages to keep throwing new stuff at you -- or if not new stuff,
then new ways to traverse levels and shoot your ways to the Zapfish. There are ziplines you can ride, sponges you
can engorge, balloons you can pop, invisible paths you can reveal, and
more. It’s true that in the final levels
you’ll see remixes of those props instead of that new stuff, but the fact that
the game tasks you with learning how to use so many spiffy toys in the first
place is pretty admirable. It makes me
wonder, though: why wasn’t some of that stuff in multiplayer? I could see some tactical use for them --
although if I had to guess, I’d bet the devs found some broken or annoying
strategy and figured that players would use them to no end. Disaster averted, maybe?
As you can guess (if you don’t already know), the
actual narrative of the game is pretty bare-bones. The Great Zapfish is missing, so you have to
go out and find it. The Octarians are
causing trouble, so you have to sort it out.
Both are more or less done by campaign’s end. The biggest wrinkle is that Cuttlefish -- who
acts as mission control/a source of hints/your Metal Gear character of choice -- gets kidnapped about halfway
through, which leaves a lot of dead air in the moments that follow. That’s especially the case, since he goes
from a handholding parent to an old guardsman who gives the new generation the
respect it deserves…and then gets nabbed.
The radio silence doesn’t last for too long,
though. Agents 1 and 2 (who try their
hardest to suggest they’re not Callie
and Marie) step in to supply the chatter in turn, just in case the player needs
a confidence boost. To be fair, they
actually do get in a good moment at the end when they hijack the broadcast,
break out a special song, and push Agent 3 to make a final charge against the
last boss. Speaking of, the last boss
(like the other bosses before him) is actually pretty cool; it’s one thing to fight
with a giant mech, but another thing entirely to do so while posing as a DJ and
firing giant missiles wearing shutter shades.
There’s always going to be a part of me that
wishes that Splatoon’s campaign was
more substantial. Okay, sure, Nintendo’s
not exactly the company you should turn to for overt stories (if they have
stories at all), but if ever there was a time for a departure, this was
it. I want to see more of this world,
not just because it’s different, but because it’s new. I want to learn more,
and know more. If they make a sequel --
and considering its success so far, it probably will get one at some point --
then I hope they expand upon what’s already here. At the very least, offer up more than just a
great big plaza disguised as a main menu.
Still, it’s not as if there was zero effort put in to flesh out the Splatoon world. Notably, there are the Sunken Scrolls -- files
you can find scattered throughout the levels that, piece by piece, reveal some
of the lore that gives the game its foundation.
The unfortunate side effect of that is that it’s very easy to miss the
scrolls, so in a lot of ways the game denies the story to all but the greatest
treasure hunters (which I am certainly not).
It’s a shame that some people will miss out on what’s being offered --
because even if the scrolls are a reward for a job well done, they didn’t have
to be.
So no, I didn’t find all of the scrolls -- but I
found some, at least. I found enough to
not only get a basic understanding of the world, also pique my interest. I’ve actually thought about going back
through the levels to find the other scrolls; then I remembered that wikis and
the internet exist, so I could get what I want without that trifling thing called
effort. The gist of Splatoon’s world is that no matter how it looks now, it’s really
(at least) ten thousand years in the future -- and more importantly, it’s built
on the remains of an apocalypse. Rising
tides led to humanity’s extinction, while the creatures of the sea evolved and
took their place, though the tradeoff is that these sea-people have zero
tolerance for the waters that once birthed them. Brutal.
Essentially, there’s nothing left of the old world
-- our world -- except for Judd, the cat that calls the winner of each Ink Battle. He was actually frozen and preserved in the
off-chance that he could somehow survive the disaster. Now he spends his days lazing around and
playing tiebreaker to species that care more about mutant paintball than the
potential end to their entire civilization.
Reality is a harsh mistress, indeed.
So here’s the thing about Splatoon: remember in the last post, I went on a super-long rant
about how most online shooters end up hurting their cause thanks to
contextualizing themselves as po-faced yet poorly-realized facsimiles of real
conflicts? This is hard to believe, but
that’s actually a big part of the game.
It’s a shooter that exposes the hypocrisy of shooters -- but remarkably,
avoids being hypocritical itself. And
the saving race is the game’s greatest strength, even in the absence of a
gripping, far-reaching story: CONTEXT.
The Ink Battles that everyone’s crazy about are
apparently holdovers from the Turf Wars from the days of old (to the point
where that’s the name of the default battle type). The Inklings and Octarians fought for limited
resources and territory in a battle with no clear good guy or bad guy, and the
Octarians got the short end of the stick.
So while the Inklings’ Inkopolis stretches from horizon to horizon on
the surface, the Octarians got forced underground -- into industrial, rickety
domes. You can actually see that in the
single-player levels; setting aside the janky environments and equipment, the
skyboxes are quite literally that: bunches of panels arranged together to
create pseudo-skies.
The reason for that -- for the entire plot,
arguably -- is simple. The Octarians
aren’t just stealing Zapfish to be assholes.
They’re doing it to save their homes.
It’s not as if they’re without fault, though. The Octarians may be in dire straits, but the
ends don’t justify the means; if anything, their actions only help to ensure
that there’ll be more conflict and more chaos between the two races. You don’t just steal a massive power source
-- a living monument fixated almost dead-center in the city -- without drawing
a little negative attention. And even if
the Inklings take it in stride at first, who’s to say how many problems that
could cause down the line? Who’s to say
that the Inklings won’t be drafted to fight in a war, or a deadly
operation?
Who’s to say they wouldn’t actively jump at the
chance? What if, in their eyes, the Ink
Battles they love so much were secret indoctrinations -- a way to convince the
kiddies that being a soldier is awesome?
Given that Callie and Marie are in the military’s pocket, what if
they’re the masterminds behind a cultural zeitgeist that can flip children into
commandoes at a moment’s notice? What if
that was a necessary evil precisely because
there could be a war between the Inklings and Octarians at any time -- or
more appropriately, a time that’s rapidly approaching because an entire civilization’s quality of life is
at stake?
The implications of Splatoon’s world are astounding.
But let me make something clear: this isn’t the same situation as a game
like Final Fantasy Type-0. That game didn’t feel like explaining
anything, even though every facet of its story -- and it DID have a dedicated,
point-by-point story -- needed at least a little explanation. Meanwhile, Splatoon by design didn’t need to have anything. It could have gotten away with being nothing
but a shooter; it would’ve been poorer for it, but what’s here only enhances
one’s understanding and intrigue of its universe. That’s true even if there’s just a glimpse of
the depth.
But the most important thing that it does -- the
very best thing it does -- is reframe the entire metacontext of shooters. And it does that by making the inherent
disconnection and apathy the player feels toward shooters into the inherent
disconnection and apathy the better part of a species feels towards shooters --
if not life in general.
Nobody gives a shit about the missing Great
Zapfish, which would be the equivalent of people shrugging off a stolen Hoover
Dam. The squid-kids only care about
looking cool and having fun, and they do that by taking serious conflicts and
turning them into a simplified, weight-free farce. It’s not about thought, or deliberation, or
any understanding of context; it’s about goofing off with games and forgetting
-- if not ignoring -- the problems that are more real to them than any Jimmy
Xbox playing a round of CoD with his
pals. In essence, Splatoon is a satire of a huge subsection of the gaming culture.
And that’s awesome.
It’s easy for me to read deeply into Splatoon and find a satire of
gamers. But even if that’s my
interpretation of it, that’s not the only interpretation. I’d say there are plenty of ways to find dark
and negative implications in what looks like something out of a Saturday
morning cartoon; despite that, there are positive things to be found and
appreciated. Yeah, I think Splatoon is making fun of gamers (and
the shooter genre even more so, arguably), but it’s worth remembering what the
Inklings are so crazy about: their
culture. Their whole world revolves
around defanged warfare, which may very well be a coping mechanism. If and when there’s a major conflict, they
might stand a chance of facing it without a total breakdown of peace, order, or
mere piece of mind.
But that’s not all there is to their world. They’re people who care about things --
superficial things on the surface, but those are still things that matter to
them. They’re a reflection of their society,
after all; clothes and shoes and hats might be material goods, but they can
just as easily symbolize something of importance to a huge swath of people, as
they do in real life. They have music to
listen to and blast through the streets.
They have public figures to idolize.
Their architecture may be similar to ours, but they’re still an example
of the tastes and evolution of a populace that merely happens to have an
alternate squid form.
So yes, Splatoon’s
single-player is a little light.
There’s a lot that hasn’t been fleshed out. But as it so happens -- in one of the biggest
paradoxes we gamers have seen yet -- the world of Splatoon might be one of the most fully-realized we’ve seen in
years.
Let’s be real here. I’m not so star-struck that I’ll say Splatoon is now my favorite game ever,
or even in my top ten. But for what it’s
worth? With the industry in the state it
is, it’s a miracle that we could ever get something like this. What we have here is the foundation for
something truly spectacular, and something that continues to evolve until it
stands shoulder-to-shoulder with Nintendo’s biggest names. That’s a ways away, I know; honestly, it
might be impossible until the Inklings hit their
thirtieth birthday.
But look at what we have now. It’s more than just something colorful, and
even more than just a new IP. For all
its goofiness and absurdity, Splatoon is
a game that makes a statement in a couple of strokes. With so few words spared, it can say so much
-- and as a result, have an impact that’s as true as even the lengthiest
treatise. If that’s not worth
celebrating, then I don’t know what is.
Oh, wait.
Yes I do. The game’s also pretty
freakin’ fun. Can’t forget that.
#GoodGuyNintendo
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