I’ll be in my trailer… watching trailers: In the Heights, everyone can hear you sing

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

Maybe Matt shouldn’t play games during a pandemic – because it seems that he mostly picks ones that translate this whole ‘social distancing’ thing into a video game format: first Journey, then Everybody’s Gone to the Rapture. Turns out that the most social contact he’s had in a game recently was in the ultra-Swiss folk horror game Mundaun, a grim little tale about deals with mysterious old men and disembodied goat heads that nonetheless talk fluent Romansh. At least that’s not something that the COVID-19 pandemic has been particularly well known for!

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The Loneliness of the Long-Distance Pilgrim: revisiting Journey

In 2012, a game called Journey was published on the PlayStation 3. It was pretty much the consummate indie art game: there were no puzzles, no boss encounters. Heck, you couldn’t even shoot anyone. What you could do is control your avatar, a figure in a red robe, to walk around the desert dunes. You could jump and even fly, in very limited ways. And you could sing. And as you crossed the desert, you could bump into other robed figures and communicate with them – by moving around, jumping, flying and singing. Whoever you were, and whatever you were hoping to achieve in this desolate yet beautiful landscape: you were not alone.

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Press A to Design/Play/Disrupt

Two cloaked figures sliding down a glittering dune, singing to each other. A hunter in Victorian garb, facing down a gigantic hairy creature on a dilapidated bridge. A grizzled middle-aged man and a young woman making their way through a ruined, overgrown city. Grinning figures, half-human, half-squid, swimming salmon-like through splotches of paint. Hundreds of extraterrestrial worlds, the skies above them in hundreds of different hues. An eagle, half visible through the trees, half concealed by the empty gaps between them.

Videogames: Design/Play/Disrupt

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They create worlds: Journey

One of the things that video games can do magnificently is create worlds. From the satirical real-world analogues of Rockstar’s Grand Theft Auto series to the historical simulacra of Assassin’s Creed infused with secret meaning, from Super Mario‘s candy-coloured vistas to the stark alien worlds of Metroid: in games we can experience spaces that are uncanny twins of real places or that are thrillingly new. This isn’t exactly a series of posts or a new feature as an occasional exploration of games that I love because of where they take me.

One of these games is Journey, originally developed by Thatgamecompany for the PS3 and now available for the PS4. In terms of its gameplay, it’s a simple game, almost entirely devoid of challenge; it has also been called an ‘art game’ and I’m sure there are some who would even deny it’s a game to begin with, for some reason or another. It wonderfully evokes a sense of place, though: in Journey you’re a lone traveller, perhaps a pilgrim, marching onwards towards the distant mountain through deserts, among abandoned ruins, across the bottom of the ocean and up snowy slopes towards the goal that keeps getting closer even as it remains tantalisingly out of reach.


While the actual virtual locations are fairly small and can be traversed in a few minutes, they come alive through a wonderful blend of the real and the imaginary. Visually, Journey has a minimalist but beautiful style, using strong colour contrast and simple shapes to evoke less real places than our dreams of such places. There’s a sparsely surreal quality to the deserts you travel through early in the game, as if Lawrence of Arabia‘s vistas had been reimagined by Giorgio de Chirico. At the same time, the place is tangible: you leave behind lines in the glittering sand as you move through it, sliding down dunes. There’s a tactility to these environments and your place in them; late in Journey, as you travel up the mountain towards your destination, the cold wind holds you back, slowly freezing you in place. Journey‘s spaces feel both alien and real – these are worlds you could otherwise only explore while asleep, but you feel the sand between your toes, the snow on your face.

Journey offers fairly little in the way of interaction to its players, its chief method of interaction being movement, and the game gets that very right. The player avatar becomes a part of the world, where in a lesser game that avatar feels superimposed on it. Other than walking around, the player can also fly, though this power is very much limited and feels less like the kind of power fantasy common to gaming than like a moment of freedom – again, very much like in dreams. There is one more thing the player can do, though, and that’s where the world gains a dimension: he or she can sing… and if others are around, they will hear that song. Journey is a multiplayer game, but it’s a most unusual one: on your pilgrimage to the mountain, you encounter other pilgrims, looking exactly like you. They walk, fly, and they sing; where one pilgrim may chirp in short, playful sounds, another may hold a note, almost as if inviting you to join voices.

It’s strange how other people can make a virtual space in a game feel more real, but that’s definitely how I experienced Journey. It’s maybe a bit like Marianne Moore’s “Poetry”, which talks about “imaginary gardens with real toads in them”: if you inhabit a world of the imagination with someone who may be incomprehensible to you but who is real, reacting to your movement, your flight and song, then that world becomes more real as well. Some of the pilgrims I encountered in Journey went exploring with me, others were kind guides pointing out an interesting ruin or a forlorn statue for me to find, and yet others seemed to sing at me in an increasingly frustrated voice, unable to make me understand their song. And then there were some that ignored me entirely. Yet most accompanied me, for a short while or for longer stretches, on my pilgrimage towards that mountain. For a few moments, they were friends, the only friends I found in that strange world. And when I dream of the desert and the bottom of the sea and that mountain, I also dream of their song. It’s those disembodied voices that we’ve left behind, floating over the dunes.