How Far Cry 6 Did Wrong About Cuba

Another example of this “chasing culture with a wink” is the way Far Cry 6 included the concept of layouts or “pass,” Cuba’s famous way of fixing fixes for technologies to keep them usable. In the game, layouts is the framework for the system of customization and refinement of firearms-as firearms expert Juan Cortez explains: “For a guerrilla, layouts Nothing happens to what you have, it gives chaos to everything you get. ”

Courtesy of Ubisoft

On the one hand, we can applaud Ubisoft’s attempt to incorporate the game’s structure culture beyond the narrative level by using Cuban practice in layouts as a central mechanic, though not all of it is different in the way that the weapons aimed at a series are like, as, Fallout. On the other hand, the geopolitical and historical structures have been infuriated by this spirit of innovation in Cuba — that is, more than half a century ago. US embargo on trade and the collapse of the Cuban economy during the “Special Period” in the early 1990s – never considered or referred only to in passing Far Cry 6, as Dani quits, “If anyone has taught us any blockade, it’s how to keep things running when you don’t.”

While knowledgeable players may get these tricky references, it’s important that you keep them in mind. layouts a custom brought on by poverty and geopolitical isolation. As scholars prefer Elzbieta Sklodowska shown, layouts come out of real need, not just creative ingenuity.

Like the fighting chicken, the allocation of layouts for the purposes of a cutesy nudge to the audience for Far Cry 6 missed the mark. In fact, it’s a perfect example of the different casual neocolonialism that game developers have always practiced today, thanks to their elimination of Latin American cultural collection for the most brilliant and bizarre. manifestations of it, using it as “raw material” for production. of refined technological products.

After all, to close this circle of neocolonial cultural qualification, video games sold around the world, including Latin American consumers, a region with about 300 million players in a market that generates more than $ 7 billion in annual revenue for Ubisoft and other multinational game publishers.

The steps Ubisoft has taken to increase the diversity and accuracy of cultural representation in its games have shown that it recognizes the importance of these issues for video game makers and audiences. But representation is only one aspect of the relationship between video games and culture – it certainly wouldn’t hurt to have Cuban or Latin American representatives present in Far Cry 6 development and writing teams. As such, it is preferred by game developers Far Cry 6 pick and choose any elements of global culture that they think will work best with their audience. Despite their checks, balances, and cultural consulting consultants, they often make decisions based on tired assumptions, with no sense of how the content of their games relates to a particular broad historical and cultural context.

Sometimes the Far Cry 6 The developers would have only known more-like when they decided to slowly base their story on Yara’s traditional slavery in the 21st century. In the game, the Castillo regime surrounded the mistrusts and forced them to work in the tobacco field, making slavery another manifestation of the dictator’s vulgarity and brutality.

For a proposal written in a simulated Cuba, it is not specific to the sensitivity of the trans-Atlantic trade center to the true cultural and cultural history of the island. Slavery takes shape in Cuba perhaps more so than in the United States: Cuba continued the practice until 1886, more than two decades after losing the U.S., which was one of the last countries in the Western hemisphere to end slavery. Now, one in three Cubans identifies as an afro-descendant. To make a game on the theme of labor in a simulated Cuba with no thought for the fact that this history is irresponsible, and we have to expect the best.

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