Gus van Sant’s Desert Golfing, or “Are 100 Hour Games Ever Worthwhile 2: Nihilistic Boogaloo”

Gerry Desert Golfing

Justin Keever | July 10, 2015

The most important piece of criticism about Justin Smith’s Desert Golfing wasn’t actually about Desert Golfing. Nope, the best article I’ve ever read about Smith’s critical darling was written almost three years before the game’s release by Michael Thomsen, who mistakenly believed he was writing an indictment of From Software’s magnum opus Dark Souls. Thomsen’s basic argument is that there is too much Dark Souls in Dark Souls: that the game makes its point, that “that life is more suffering than pleasure, more failure than success, and that even the momentary relief of achievement is wiped away by new levels of difficulty” (a fair, albeit simplistic assessment) in its first 5 hours, and the remaining 95 hours it apparently takes to complete the game offer nothing but light, meaningless variation on this basic idea. Again, I must admit that at first glance, there is something to this assessment of Dark Souls, especially when one need look no further than the game’s most devoted fans, the PvP community, to see a host of people whose appreciation for the game extends only as far as the “useless junk” that Thomsen believes Dark Souls is mostly about: the particulars of its combat. These are people who have spent hundreds of hours experiencing light variations on the theme “the path to success is paved with rolling and backstabbing.” But I digress. Thomsen’s basic argument doesn’t hold up, as his basic understanding of what Dark Souls means appears to derive solely from the act of its play: that is, its difficulty remains more or less a constant, and so the ludically expressed theme of “life is hell” in turn remains constant. But this basic procedural theme doesn’t exist independently: it is an undercurrent of a story that explores how people respond to their own hellish existence, a story of grief, greed, and how desperately people will fight to maintain the status quo. The game’s setting, Lordran, is grotesque and sublime in equal measure: settings like Ash Lake and the Kiln of the First Flame are worth suffering to see. Thomsen’s assessment of Dark Souls as a repetitive exercise in relentless nihilism is accurate only if you remove its narrative aspirations and visual splendor, a notion which allows us to segue conveniently to Desert Golfing.

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