Becoming-Earth
As a matter of fact, Flower (2009) is different than any other game I have played before. It contains no dialogue nor any ‘character’. The only sign of humanity, of the familiar, is when the player selects which level they want to play, by tapping on a pot of flower sitting by an apartment window. In my opinion, despite the fact that the game is all landscapes and nature, it does not reinforce the nature culture divide. Indeed, as the player progresses throughout the game, the view of the city outside the window becomes gradually more vibrant at the completion of each level. The way I understand it, this goes to show the interconnectedness of nature and culture. In effect, the view of the city, the human world, goes from grim to more lively, thanks to the reviving of dead fields, of nature. As such, “approaching nature as an environmental-friendly force instead of draining it of all valuable resources” (Milesi 2022, 13), allows the gamer to not only become an “ecological agent” (Milesi 2022, 13), but a geo-centered subject that recognizes the nature culture continuum (Braidotti 2013, 81).
Lastly, this game was created to evoke positive emotions in the player, contrary to the more popular violent and strategic games that are both stress-inducing and aggravating. Rather, the player is accompanied by sounds of the wind and music, which has more of a calming effect, I would say.
“It offers an exemplary illustration of the aesthetic and educational power of the ludic medium not only to translate the harsh realities of environmental crisis into poetic, interactive scenarios but also to adumbrate eco-conscious solutions and new behaviors” (Milesi 2022, 13).
