Journey to Unknown

Abstract

Abdullah Karam, who escapes the Syrian Civil War in 2014, transforms the difficult migration and escape process he experienced into an autobiographical adventure game with Path Out (2017). The aim of the article is to examine the gamification of this escape process as a critical game design. Also, the article assesses Path Out (2017) as an interactive counter documentary as the inserted video clips by Karam foster a mode of listening to the experience from the first hand. The article analyzes the game with the close reading technique and the researcher uses her own observations and experiences as a player.
 With the concept of critical play, Mary Flanagan points out that a game can interact with important social issues, such as immigration and war. Accordingly, as a critical play, Path Out (2017) enables the players to have knowledge of socio-political realities and cultural dynamics and to become conscious by following the experiences of a civilian and young individual during the civil war. Thus, can games be an alternative method of documenting real-life events? Or can the plays reveal the subjective aspects of the documentary and criticize the genre?
 The article examines the short videos that Karam has embedded in the game, reminding of the live and interactive game commentary. Karam's in-game interventions allow the player to connect and criticize both reality and the virtual environment in the game. The video method used in the game documents Karam's memories and experiences as a counter mode of archiving. With these self-recorded video interventions, Karam comments on themes such as war, displacement, identity, death, family, and daily life, and gives information to the player. Karam wears the same sweatshirt as the character in the game world and calls out directly to the players, "You are playing me in this game". Thus, the physical separation between the players and the game character becomes evident with the appearance of Karam. The game Path Out (2017) becomes a useful tool for Karam to tell his story with his own voice. Making oneself visible and audible are key positions Karam takes regarding exposure to displacement. To put it in Flanagan's words, Path Out (2017) can also function as a tool to understand the players themselves.
 With the crossing of the border in the last part of the game, Karam tries not to get caught in the mines and not to be killed by the border troops. The game ends when Karam successfully crosses the border. However, each time the player dies, they get a new chance to cross the border because the real Karam is alive, and dead at the border of the game is experienced temporarily. For this reason, the player's desire to play again turns into an uneasy experiment. The dark atmosphere of the border evokes the unknown after crossing the border. Besides, with each experience of temporary death in the game, players are encouraged to rethink the issue of numerous and out-of-the-record migrant deaths passing the borders.