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If you manage your resources properly, your last act will be to recycle your tools and depart, leaving no trace of humanity’s presence behind. The upcoming simulation challenges players to unbuild a city, transforming old urban wastelands into rewilded natural space. If Frostpunk challenges players to think about the humans in cities, Terra Nil reminds them that there are places humans shouldn’t be.
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Stokalski sees both resources as symbolic coal keeps a fire alight in a freezing world, while oil is “a telling resource, a source of power that enabled huge human achievements, but is also dark, sticky, and dirties everything it touches.” It’s not an explicit comment on the times, but it’s also hard to detach the barrage of negative headlines-“the density of really shitty news,” as Stokalski puts it-from game development.
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Stokalski and his colleagues at 11 Bit Studios are hard at work on Frostpunk 2, which will see their alternate reality transition from coal to oil. And I think that’s meaningful, to learn more about ourselves, because only then we can try to be better.” “I think that’s the unique capability of games: asking questions the player has to answer through action, rather than declaration. And we reap the consequences on our road to ‘beating’ the game. “I find these questions interesting because it’s the players who have to answer them by making actual choices. “Societies under pressure, and what the player will do to ensure their survival, is an interesting space where we can ask uncomfortable questions,” Stokalski says. It’s a game of questions, not objectives. It isn’t really about climate change, but questions of who and what to sacrifice feel more at the heart of our attempts to grapple with the problem than debating where your city’s sleek recycling center will look most attractive. That scenario is a natural extension of Frostpunk’s concepts. This sacrifice could be not just your own-you can choose to sacrifice others, regardless of whether they like it.” “When making The Last Autumn, the question was what you will sacrifice to ensure a chance for a future,” Stokalski says. While Frostpunk’s volcanic backstory lets humanity off the hook, its most recent expansion, The Last Autumn, depicts efforts to prepare for disaster even as large swathes of society deny it’s coming. Or from a Civ 6 game modified to be impossibly difficult. This enables a level of international agreement that makes the recent vacillating at COP26 look like it’s from an alternate universe. Because fixing climate change requires no sacrifice, no empire opposes it. But as philosophy, it looks optimistic to the point of naivete. You just press the right buttons until the problem goes away.Īs gameplay, it works. In Civ, you don’t have to work with political rivals, convince the skeptics in your electorate, or even cooperate with other countries to beat climate change. Unchecked, climate change can run rampant-but it can also be solved by researching and employing green technologies. You’re supposed to comprehend the fact that millions are suffering.īut the game’s hurricanes and tornadoes are just little animations on a map-the only visible consequences of the death and destruction they deal out are changes to the impersonal statistics that fuel your empire. Coal and oil will help you conquer large swathes of the world, but they’ll also raise CO 2 levels until the seas flood into your cities and drown your people. If you’re a Civilization 6 player, you have to contend with the environmental consequences of your empire building.