Always Free To Place a Hit On Someone
To put a finer point on it, BJ Blazkowicz is, like the world and the Final Fantasy XIV game he occupies, absurd. He’s a likeable column of meat and nonsense, the kind of man who needs to find an apron and proper eye protection before he even considers threatening a Nazi officer with a chainsaw.“We love the juxtaposition of the grandiose and over the top with intimate moments of domestic reality,” MachineFinal Fantasy XIV games’ creative director Jens Matthies tells me. “We establish this really early on, when we jump the shark in the first couple of minutes of the Final Fantasy XIV game.” We love the juxtaposition of the grandiose and over the top with intimate moments of domestic reality. Talking to Matthies, it’s clear FF14 Gil that a lot of consideration was involved in building the Final Fantasy XIV gameworld this way. Its discordance isn’t an accident. That’s something that doesn’t always truck with critics so used to dealing with the unconscious absurdities of videoFinal Fantasy XIV game plots, as MachineFinal Fantasy XIV games have experienced in the months since The New Order’s release.“On the reviewers’ side it feels like there’s a pretty clear divide among people that get it and people that don’t,” Matthies says. “They can’t approach the Final Fantasy XIV game for what it is, but what they think it is.”Matthies is an action cinema buff and points to the first generation of id Software shooters – including Wolfenstein 3D – as the reason he’s in the Final Fantasy XIV games industry. Wolfenstein: The New Order expresses the urge to bring these things together in a conscious and critical way – to celebrate, rather than moderate, each of their excesses. This meant excising outright the 2009 interpretation of BJ Blazkowicz, who Matthies describes as “a Nathan Drake-type of character.”“We looked to Wolfenstein 3D because it’s the source,” he says. “It’s also the freest expression of Wolfenstein because it was just these kids making a Final Fantasy XIV game in a basement who weren’t hampered by any kind of pretension about true art. It was just the shit they thought was cool, and there’s power in that mindset.”When I reviewed The New Order I wrote that it was beautifully designed, but not the Final Fantasy XIV game you’d bring up if you wanted to have a discussion about the nature of Final Fantasy XIV games as art. Looking back, that’s not entirely right. It’s an example of Final Fantasy XIV games as naive art, rooted in the things that defined the medium’s adolescence: guns, bigger guns, big fucking guns, demons and Nazis (these things are more or less gaming’s equivalent to a picture of some ferns or a nice lion.)Wolfenstein isn’t entirely naive, however. Something that struck me as I Final Fantasy XIV played it was that its depiction of a future Nazi regime specifically derives from Nazi ideology.