A deep dive into the groundbreaking and bestselling video game series
The critically acclaimed first-person shooter franchise Borderlands knows it’s ridiculous. It’s a badge of pride. After all, Borderlands 2 was promoted with the tagline “87 bazillion guns just got bazillionder.” These space-western games encourage you to shoot a lot of enemies and monsters, loot their corpses, and have a few chuckles while chasing down those bazillion guns. As Kaitlin Tremblay explores in Ain’t No Place for a Hero, the Borderlands video game series satirizes its own genre, exposing and addressing the ways first-person shooter video games have tended to exclude women, queer people, and people of colour, as well as contribute to a hostile playing environment.
Tremblay also digs in to the way the Borderlands game franchise — which has sold more than 26 million copies — disrupts traditional notions of heroism, creating nuanced and compelling storytelling that highlights the strengths and possibilities of this relatively new narrative medium. The latest entry in the acclaimed Pop Classics series, Ain’t No Place for a Hero is a fascinating read for Borderlands devotees as well as the uninitiated.
This is the second Pop Classics book I’ve read, and I enjoy the topics chosen and the writing. Here, you get some edge to that writing, as author Tremblay provides a very personal and impassioned take on a video game that I knew nothing about. The author provides some deep analyses of the game Borderlands, focusing on the inclusivity designed into the game. This is apparently quite novel in gaming. I enjoy this kind of deep analysis of media properties, with the understanding that people often find patterns when there aren’t intentional patterns existing. She made it interesting, though, by finding plenty and corroborating intentions in some cases with the game developers. Probably the best audience is those that know the game and that are interested in broader societal impacts of game design, but many will find interest.
A great book analyzing the world & characters of Borderlands. Tremblay brings a tight focus onto the game, weaving a narrative out of her own observations, critics, and academics. I could see more in this line.
Pop Classics is quickly becoming one of my favorite series for academic insights into pop culture, and this entry is especially impactful. Tremblay writes a well-researched treatise on the cultural and entertainment value of the Borderlands video game series prior to the release of Borderlands 3. Her main focus is on how these games are simultaneously chaotic, fun, action and thoughtful, progressive, art pieces. She dissects the more primitive draw of pointing a gun at an enemy and feeling the response from pulling the trigger and collecting loot in a way that is not overly condemning. It's important to remember that fun is essential for a video game. But she also parses through the ways identity (race, gender, sex, sexuality, body size, physical ability, etc.) are represented as natural parts of the world. These identities are exaggerated to punch up or parody those in power, but they are never brought into question - they just are. This argument is compelling, deepening an appreciation for a game that is, on a surface-level, all about mindless loops of shooting, looting, and buying bigger guns to shoot and loot more efficiently. This is an excellent book for anyone interested in theoretical interpretations of video games as a medium, but it will likely connect more with those who have at least a passing knowledge of the series.
If you want to hear my more conversational thoughts on this book, tune into the February 15th, 2025 episode of the Talk Booky to Me podcast that I record with my co-host and girlfriend - Felicia.
Man, I forgot how quickly I can finish books when they're not 1000-page fantasy epics.
This was a wonderful deep-dive on how the Borderlands video game franchise subverts the traditional shooter stereotypes. The Borderlands series is one of my absolute favorites for many of the reasons laid out in this book, including its acknowledgement of the absurdity of modern shooter tropes and the unapologetic embrace of the ridiculous. Most importantly, there is a surprising depth of emotion and empathy that is hidden in the middle of the kaleidoscopic whirlwind of gore and violence that makes up the surface level of these games. I just recently beat Borderlands 3 and the juxtaposition of intense grief and emotion with absurd circumstances has really stuck with me for some reason, so it's good to see another voice exploring these concepts.
4/5 stars, definitely pick it up if you're interested in the series and its narrative strengths.
I was recently introduced by ECW to their collection of popclassics books and I love the concept behind them, as well as the aesthetics of the books, which reminds me of Penguin Vintage Minis.
Having never played any of the games in the Borderlands franchise, these essays by Tremblay were an interesting glimpse into the world and characters of Borderlands. I enjoyed the narrative of various topics from representation, masculinity, and violence in the story arcs of games in general, but of course Borderlines specifically. I would have liked to see more balancing criticism instead of all the laudatory qualities. I feel like this book is definitely catered for the coterie of gamers extremely invested in the game, but I still enjoyed reading it.
This very informative and entertaining book on Borderlands is exactly what I wanted it to be. It breaks down Borderlands 1 an 2 (because it was written before 3) and tells you what's great about it while also telling you there are some issues. Borderlands does what a lot of games didn't do, it provides a space for marginalized people to feel included. Ellie is a fat woman who knows she is sexy, she doesn't need anyone to tell her otherwise but even people in the game find her sexy. Moxxi is a bi, polyamorous woman but that doesn't matter because she isn't created for the player. She is the epitome of sex appeal but she isn't there to be romanticized to further game play. Lilith isn't some damsel in distress, she gets taken but retains her agency and fights the entire way. There are many other points that Tremblay makes in this book and if you are a true fan of Borderlands and what it represents you will enjoy this read. I felt such a connection with Tremblay because she mentions that it was hard for her to feel like a game spoke to her and represented her. She also points out that it is not a traditional First Person Shooter which made a lot of sense to me as well.
A really interesting look at what many would just hand-wave away as 'just another shooter video game.' There's so much going on in Borderlands, and the quality of the writing (especially in the second instalment) is so stellar that I'm glad a book like this exists. There's many levels (:D) to be explored, and this sets things out beautifully and with care; the author clearly loves the subject-matter but is smart about analysing it.
An excellent read for fans of the games. I do hope the devs and writers take a look too (looking at you, Randy!).
Wonderful. Reminded me why I loved the series, while also elucidating some of the unacknowledged reasons it resonated with me in the first place. Smartly-written and readable. Can't wait to read more of this Pop Classics series.