Blog 2
Last semester, I researched the phenomenon of Techno-orientalism, specifically it’s manifestation in the key themes and aesthetics in the game ‘CyberPunk 2077’. Released in December 2020, the highly anticipated addition was fraught with controversy regarding a myriad of technical glitches.
The release of a video game is held with high anticipation for ‘cultural capital’. Building ‘hype’ around a release places pressure on the success of the game. The relationship between the release and the economic conditions of the time can greatly impact the ultimate nature of the release.
- The Guardian called the release “a shambles”
- The New York Times states ‘CD Projekt Red prominently failing to meet expectations for what was anticipated to be the biggest game release of the year.’
Announcing the release in 2012, Fans were challenged with an 8 year long wait, to be given a bug-ridden experience, so farcical it was beyond frustration into hilarity. The game developers were promising astronomical improvements, although they delivered glitches ‘including characters going into “T-Pose” — standing with their arms raised to either side — and suddenly losing their pants.’
Cyberpunk 2077 was pressured to be released during the unexpected COVID-19 pandemic and unfortunately garnered several lawsuits in the meantime. With the increased demand from quarantined and isolated consumers, the developers were encouraged to release the game sooner than expected. 2020 was an experience for many a time of economic uncertainty, consequently game developers were stuck with remote-work issues. The glitches on the Xbox and PlayStation consoles pre-occupied the developers’ time that could have been usefully targeted towards patching up the multitude of in-game and external issues including numerous lawsuits involving the playability of Cyberpunk 2077.
-- Cait Achenza -- 