The places that can be searched have different degrees of danger: the ruins, where there are ordinary bricks, are usually not guarded by anyone, a dilapidated store with a lot of food has been occupied by armed civilians, and a hospital with medicines has fallen under the rule of the military, who forbids taking medicine. Only one character per day can search for provisions at night. This War of Mine is built in such a way that you absolutely need some things to survive, but finding them means risking your life every night. Everything is permeated with this primitive life: for a radio receiver, thanks to which you will know where in the city it is dangerous and where it is relatively quiet, you need details the necessary components for the furnace must be sought in a dangerous place. To have enough water, you need to make a filter for rainwater, and for this, you need to find a lot of materials. And in the evening, when snipers won’t see you, you have to look for provisions and building materials. During the day, the heroes must eat, sleep, grow vegetables, set traps for small animals, patch the roof and walls, and build ascetic furniture - bed and chairs made from boxes - so that everyone can rest. The game has two modes that are determined by the time of day. Almost always every hero feels “tired”, “very tired”, “hungry”, “very hungry”, “sick”, and “very sick” – this is a gradation of exhaustion that does not have indicators like “normal” or “full of hope”. Characters who take shelter from shelling in a house have indicators of psychological and physical condition. Eastern European setting, a siege of a city reminiscent of Sarajevo, surrounded by the military from 1992 to 1996, a large shell-damaged house and a group of residents with familiar names: Pavlo, Katia, Marko, Iryna, Borys. This War of Mine is a war game, but, at least in my memory, it’s about the only one that focuses on civilians. “Acceptable” means a game that you want to turn off after an hour and not go through it again.Ĭollage: Kateryna Kruhlyk / Zaborona. It’s kind of embarrassing to admit it: habits die hard, so in mid-spring, I tried to find a compromise - to choose a game that would seem to me an acceptable wartime experience. I felt something vaguely similar: I didn’t want to start a video game at all, that perfect invention of escapism that transports you from air raid alert to another world. Among players, there is a concept of game impotence - a state when the player loses interest in the game process. Is it ethical to read a novel about anything but war? Is it okay to keep watching Netflix’s primetime series when the movies that seem relevant right now are documentaries about the Holocaust and the wars in Africa or Europe? Is it ethical to play a shooter that has nothing to do with real war? Only disasters and human suffering have become the hard currency that matters.īefore the war, I was a game critic: I spent about 25-30 hours a week playing video games. The war, at least for me, changed and continues to change the strictness of domestic censorship.
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