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In my post on Halo from last month I mentioned that Clint Hocking's work on the Far Cry franchise probably deserved its own essay. In the process of researching that essay I discovered that another YouTuber had already beaten me to the scoop, covering much of the same ground that I had planned to.
I'm going to link his video below, but I still want to get this out because I find the franchise's central theme of choice, consequence, and the role that we as individuals often play in our own destruction/salvation, are highly relevant to conversations that have been happening elsewhere on this forum.
For the uninitiated Far Cry is a series of single player first person shooters produced by Ubisoft. The series follows an anthology format with each new game introducing a new setting and set of characters.
The first Far Cry game released in 2004 was essentially a glorified tech demo for Cervat Yerli's scalable dynamic rendering engine which he had developed in partnership with Nvidia and would later market under the CryEngine name. This technology enabled highly detailed and expansive exterior scenes with functionally infinite draw distances to be rendered on the hardware of the day without the need to rely on pre-baked lighting/shaders and forced perspective tricks the way contemporary 3D games like Half-Life 2 did.
If the first Far Cry was essentially a tech demo, Far Cry 2 released in 2008 was a gameplay demo. What narrative there is, is paper thin, but what Far Cry 2 did was codify the genre of the "3D open-world action game with crafting and collectibles". Blazing the trail that games like Skyrim, the Assassin's Creed series, Batman Arkham City, Ghosts of Tsushima, and Cyberpunk 2077, would all follow. It may be one of the most low-key influential video games of the last two decades.
The third game is where everything clicked. Far Cry 3 released in 2012 was the first Far Cry to have a proper narrative with fully realized characters who were more than stock archetypes like "Generic Action Hero Guy", "Mad Scientist", and "Femme Fatale". A lot of effort went into facial animation and voice acting to the point that it still holds up surprisingly well for a game that is over a decade old. Which brings us to the thesis of this essay.
If the measure of a piece of "literature" or "art" is the ability to tackle a complex or challenging ideas and make them accessible to the masses, Far Cry 3 deserve to be regarded as high art for how deftly it uses its own medium to convey and amplify the themes of the story it is trying to tell. Or as DJ Peach Cobbler puts it Far Cry 3 tells a story that only a video game could tell
You play as Jason Brody, a pampered rich douche-bro on vacation in Ersatz-Indonesia who, along with his friends, is kidnapped and held for ransom by pirates after they stray too far from the relative safety of their beachfront resort. Jason, with the assistance of his older brother Grant, manages free himself and escape into the jungle but Grant gets shot and killed during the escape, leaving Jason to face the Jungle alone and unprepared.
This is our first hint that the game might be operating on a deeper level than your conventional shoot-em-up. Grant is presented to us as the quintessential hero protagonist, handsome, charismatic, capable, brave, and he dies an ugly gurgling death bleeding out in the mud while his little brother panics. This all happens in the first 10 minutes of the game and the message is clear. You, the limp wristed trust-fund kid, are going to have to level up if you are to have any hope of surviving the jungle much less freeing your friends from captivity. And with that the game releases you into its world.
As you progress through the game, discovering landmarks, hunting animals, crafting equipment, and completing quests, you unlock new abilities, new weapons, better stats. You become more and more capable, and more and more of a killer till by the end John Rambo 'aint got nothing on Jason Brody.
This where things get interesting because without getting into spoilers it is made abundantly clear throughout the narrative that all this killing and "leveling up" is taking a toll on Jason's mind, that it is damaging his relationships with his friends, his family, society, morality, and ultimately reality. At the same time Jason isn't the one doing the killing, we are. YOU, the player, not Jason, are the one positioning the crosshairs and pulling the trigger. You, the player, are the one who made the decision to complete that extra side-quest so that you could unlock that sweet triple knife take-down, and having unlocked it, by God we're going to use it, because dopamine's a hell of a drug. By playing the game we have been manipulated into being willing and enthusiastic participants in Jason's descent into violence and madness. The daemon on his shoulder whispering "Yah, we got this" as we pursue our own destruction.
...and this is why I believe that that the infamous "bad ending" is the canonically correct ending for Jason's story, and that the people who complain about how the game "punishes the player" for making the thematic choice by wanting to keep playing are missing the forest for the trees. The fact that game gives you one last chance to reject the path of violence is what makes the ending so impactful.
These themes of player agency and choice would be explored and expanded upon in Far Cry 4 and 5 (4's "Secret Ending" being a notable example of this) but if you are going to play just one of the Far Cry games please play Far Cry 3. It is worth your time.
First, I absolutely agree with the 3 is best Far Cry; I feel like it has the cleanest gameplay and tries to tell its story as well as it can, and even though I disagreed with a lot of what I felt the devs were doing, I could recognize that they were including X bit to evoke Y theme and so on.
But I do have some plot quibbles. First, there are some significant clues that Jason Brody has a bit more to him than his first impression implies. You've got the voice hallucination of his brother telling him that he's a natural with a gun, and there is a club flashback sequence where you knock someone the fuck out.
I also think that for games like Far Cry 3, there are really only two valid readings. First, everything the game shows happened. Yes, you killed literally hundreds of people. Yes, you got shot hundreds or thousands of times and walked it off with some very grim healing animations. Yes, the tatau representing your skill tree glows and redraws itself when you master a skill. Yes, the wildlife is absurdly hostile and yes, it does include extremely rare or outright-thought-to-be-extinct species. Yes, Buck is actually teleporting around. Yes, you did have crazy QTE murder-battles. And yes, if you do the Bad End,you don't just respawn to let you 100% the game, that actually happened, you just pop back up exactly like every other time you've died (both in gameplay and with Vaas), that is also entirely diagetic, and Citra is about very, very briefly have the Full Jason Brody Experience this time.
The other is to accept that there is enough weird drug and hallucination crap that you can't actually say what happened to anything, so it doesn't matter!
But the game is fun, and Blood Dragon by itself is worth the price of admission, so I also heartily endorse checking it out for yourselves.
I still prefer Farcry 4, though. Even if the DLCs did kind of ruin Pagan Min. A little.
But, yes, Farcry 3 is definitely in it's own category for what can only be termed as unreliable narrator. There's a big, open question as to whether or not the game is one drug-fuled hallucination or there is actually some mystical bullshit going on. You can argue in both directions, and the game never really gives you a definite answer.
Count me among those that feels like the Bad Ending is severely lack-luster, though. A part of me can't help but wonder if the writers couldn't quite seal the deal on the type of story they wanted to show and just had to wuss outin demonstrating how much of a monster Jason had become, only to get backstabbed by Vaas' sister because... what, Jason was sniffing for a crumb of pussy? Come on. On top of this is the game literally screaming at you that Vaas' sister has done this shit before, and you'd think Jason would pick up on that. A better ending, albeit cliched, would have had Jason slowly devolving into Vaas himself, only to have a snap-cut-to-black to finish the game off when that realization hits home.
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