Central to the Battle School in Ender’s Game are the Games; mock-battles fought between armies in a zero-gravity arena where combatants try to win by eliminating their opponents. When Ender is given his own army, he messes with conventional tactics by deciding that the enemy’s gate is down, and not across. Cardinal directions are completely arbitrary in zero gravity, so it makes little sense to be beholden to them. This reframes the battlefield; Ender’s army gets an advantage since they’re able to approach their opponents from unexpected angles. It’s Ender’s grasp of three-dimensional space, among other things, that makes him a formidable commander. Up and down are relative.
The central gimmick of Gravity Rush is your ability to mess with gravity. With the press of a button, Kat is able to float off the ground, and another tap sends her hurtling in that direction until she hits something, at which point that something is now the ground she’s standing on. It’s a dizzying affair, flying around this steampunk town and walking upside down on bridges and the like. It became slightly less dizzying, however, when I realized I wasn’t flying around; rather, I was falling.
I know this might seem obvious, but it is a decidedly different approach to the game. We’re used to flying in games; that’s a motion that’s easily translatable. Maybe not flying like Superman, but flying with a jetpack or flying a plane or spaceship. Thus when using Kat’s powers, the translation in my mind is that I’m flying, and I try to adjust as such (and I can’t). Once I think about it as if I’m falling wherever I’m going, though, the movement becomes more familiar and I’m better able to guide Kat through the air.
In essence, to play Gravity Rush well, I’ve gotta stop thinking ‘normally’ and get myself to see Kat as falling, not flying. Basically, I gotta reframe my point of view — the enemy’s gate is down. It’s a really fun part of Gravity Rush, because there are times when my brain goes back to ‘default’ and I’ve gotta remind myself that I’m falling. The game wants you to speak its gravity-based language, which often means having to ignore other telltale signs of which way is up.
Thinking differently is a really fun exercise, and it’s really neat when games force you to do so. Portal is a first-person game that gives you a portal gun. You go in one portal and out the other — simple. You go fast in one portal you go fast out the other; vertical velocity is transferred to horizontal, depending on where the portals are. To solve the puzzles in the game, you’ve gotta use these portals to your advantage, often in some really wild ways. It’s no small detail that GLaDOS, the AI who’s setting up these tests for you, compliments you by saying that “now you’re thinking with portals.” You gotta think with portals to get through.
I like games, and I like having to learn to think the way a game wants you to think. When playing Kerbal Space Program I had to think like a rocket scientist, Catherine had me dreaming in block puzzles. Naturally, I think there’s so much more room in games to really cut wild. I want a strategy game that takes place in proper three-dimensional zero-gravity space, complete with being able to reorientate ships and the like. I want puzzle games that really cut wild with ideas of physics and force you to think way outside the box. It’s a hurdle to overcome, sure, when getting the hang of a game, but it’s such a fun feeling. Games, particularly video games, are access to a virtual world and the sky’s the limit with what you could do there. And sometimes, that sky is where gravity happens to be pulling you.