2016’s Orwell tapped
into our collective fears about online surveillance, the manipulation of
information, and our fast-eroding sense of personal privacy in the digital age.
In 2018, these problems are more pronounced and have manifested in new ways.
Orwell: Ignorance is Strength has launched upon a world where the term “fakenews” carries very specific connotations, and where political divisiveness is,
in many parts of the world, leading to mass-protests and widespread unease, a
lot of which is being channelled through the internet. The Orwell games are
very much a product of their time, but unfortunately Ignorance is Strength does
not resonate as hard as its predecessor did.
The events of Ignorance
is Strength occur concurrently with the first three episodes of the original
game, but while there’s some occasional overlap you’re primarily focused on an
entirely separate case. Barring one new element, the gameplay is mostly
identical to the first game, which you should play first if you have any
interest in this follow-up–some knowledge about the “The Nation” (the fictional
country the game is set in) and the technology you’re in charge of is assumed.
You play as an investigator, charged with digging through the internet for
information that will serve the interests of the country’s corrupt government.
Initially you’re searching
for details about Oleg Bakay, a missing military officer from neighboring
country Parges. Soon–and for the remainder of the game–your focus shifts to
Raban Vhart, a blogger whose anti-government sentiments and campaign against
the leadership of The Nation (which is, yes, run by a man who looks a bit like
Trump) must be thwarted. You are, essentially, the bad guy, running surveillance
for a dictatorship that demands absolute fealty from the citizens it so closely
monitors, but Ignorance is Strength is less explicit about the meaning behind
all of this than the first game was. While Orwell stretched across five
episodic instalments, Ignorance is Strength runs for just three, which winds up
being too little time to build upon the previously established mythology of the
game’s world. The broader political climate of The Nation, the appropriately
Orwellian setting for both games, isn’t expanded upon much by Raban’s war
against it, and while a conflict with Parges is discussed it’s never quite
explored enough to feel like a proper plot point.
Your job is to find chunks of
data online using the computer interface of the Orwell surveillance system,
then throw as much dirt as you can at Raban. If a piece of information on a
page can be collected, it will be highlighted, and you can drag it to their
profile on your screen. You find this information by scouring websites
(although annoyingly you can’t “search” for sites; you either find links on
sites you have already accessed or gain a new site for your database after
grabbing a data chunk), and when you manage to find someone’s phone or computer
details you can snoop through their private screens too. Pages that haven’t
been fully explored, or which have data chunks you haven’t lifted, are
highlighted on your list of pages visited. Each piece of information you
collect will eat up ten minutes on your in-game clock, and in each of the game’s
three episodes you’re working towards a specific time limit, so you want to
focus on the important information and skip over any data that does not add to
the case you’re building.
Sometimes data will
contradict with other chunks, and as the Investigator it’s up to you to choose
which one to submit. The “Ethical Codex” mandate means that your supervisor is
only privy to information you submit, and will make informed decisions based on
that. The way the plot progresses will be influenced by which statements you
decide are more valid, as you can’t submit two contradictory pieces. It’s an
implausible system, but from a game design perspective it’s a clever one,
forcing you into regular moral dilemmas.
The stakes feel muted
this time, though. In episode 2, for example, if you gather too much useless
information without finding a specific important detail, Raban will publish an anti-government blog post before you can stop him. Raban isn’t a talented
writer, and while he has a following, his posts largely read as hysterical,
which is a strange tone to hit. He drops a genuine revelation in the first
episode, but for the remainder of the game Raban seems like someone who is fast
unravelling, and who the leaders of The Nation could probably comfortably
ignore, having successfully implemented a surveillance state and perfected the
dissemination of propaganda in ways that make Raban’s stand largelyineffective. It also doesn’t help that the game, which is so text-heavy, has
several issues with grammar, punctuation and sentence syntax, at least some of
which seem unintentional. They’re minor problems, but over time they become
distracting.
It’s up to you to
discredit Raban by investigating his personal life and past, which becomes the
driving force of the second and third episodes. You’re essentially asked to
destroy a man’s life, and it can be distressingly satisfying when you dig up
the appropriate dirt on him. The human drama at the game’s heart is the most
compelling aspect of its plot, especially once you start to investigate Raban’s
wife and brother. A few twists in the story are telegraphed too heavily to have
an impact, but the experience of taking available information about a man’s
life and using it to destroy him–by any means necessary–is just the right level
of disturbing.
The third and final
episode introduces a new wrinkle: the Influencer Tool, which lets you gather
information and broadcast to the world, obscuring the truth by cherry-picking
certain information to reach conclusions that ignore specific inconvenient
details. The Influencer Tool taps into our worst fears–our secrets and our
private conversations being exposed against our will, and our moments of
weakness being read as our true selves coming out. The balance between your
personal satisfaction over achieving in-game goals and the horror of what
you’re doing, coupled with the plausibility of these tools being used against someone, can lead to serious self-reflection, even if the man you’re taking
apart isn’t the most compelling figure.
It’s a shame that these moments are fairly fleeting–Ignorance is Strength would have benefited greatly from a fewextra chapters to really emphasize the tragedy of what is happening.Orwell: Ignorance is Strength does not leave as strong an impression as the first game did, even if the central mechanics are still inherently compelling. There’s not quite enough space for the game to breathe, and the interesting ideas, like the Influencer Tool, could be taken further. As a series, Orwell is brimming with potential, but it feels like the sequel was rushed to ensure that it could comment on the state of the world in early 2018. But extensive private data collection, political turmoil, and pervasive surveillance aren’t going anywhere, which is why the game’s namesake, George Orwell, has remained so perpetually relevant. If there’s a third Orwell game, hopefully Osmotic Studios will find more to say about it.
It’s a shame that these moments are fairly fleeting–Ignorance is Strength would have benefited greatly from a fewextra chapters to really emphasize the tragedy of what is happening.Orwell: Ignorance is Strength does not leave as strong an impression as the first game did, even if the central mechanics are still inherently compelling. There’s not quite enough space for the game to breathe, and the interesting ideas, like the Influencer Tool, could be taken further. As a series, Orwell is brimming with potential, but it feels like the sequel was rushed to ensure that it could comment on the state of the world in early 2018. But extensive private data collection, political turmoil, and pervasive surveillance aren’t going anywhere, which is why the game’s namesake, George Orwell, has remained so perpetually relevant. If there’s a third Orwell game, hopefully Osmotic Studios will find more to say about it.
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