Watching the Minecraft movie without ever having played Minecraft is quite an experience (which, of course, I had to live)

Minecraft is a classic video game, and several generations have spent hours and hours glued to the computer creating buildings, searching for materials, and protecting themselves from the night zombies. Well, at least I suppose that’s what the game is about: no matter how classic it is, when it was released I was already 27 years old and focused on other things. I have no idea what the objective of the game is, nor do I know anything about it beyond the most iconic elements (the pickaxe, the blocks, the zombies, etc.), but precisely for that reason I had to conduct an experiment: was it possible to enjoy a […]

Minecraft is a classic video game, and several generations have spent hours and hours glued to the computer creating buildings, searching for materials, and protecting themselves from nighttime zombies. Well, at least I suppose that’s what the game is about: no matter how classic it is, when it was released I was already 27 years old and focused on other things. I have no idea what the objective of the game is, nor do I know anything about it beyond the most iconic elements (the pickaxe, the blocks, the zombies, etc.), but precisely for that reason, I had to conduct an experiment: was it possible to enjoy a Minecraft movie without ever having played Minecraft in my life?

We need to mine and craft

I must admit that my main reason for watching a Minecraft movie was not the video game, nor Jack Black or Jason Momoa, but its director, Jared Hess, who made, twenty years ago, the strange, fascinating, and subcultural Napoleon Dynamite. And it is impossible not to be curious about understanding why, instead of hiring someone who resembles a blank slate and accepts everything the studio says, they decided to do the opposite with an author with a unique voice capable of breaking away from the established norms. As soon as the film started, I saw it clearly: Hess is the hinge that connects everything, the way to make an impossible movie work between the demands of the video game studio, those of Warner, and the expectations of the fans.

No one was asking for a good movie to be made, because it was already going to rake in millions just with the name. It could have done something like Five Nights At Freddy’s, a simple copy without anything special, but instead, Hess has decided to go further, creating a comprehensible world not only for the fans but also for everyone who (like probably himself) is completely out of touch with Minecraft. And he has done it in a tremendously smart way: naming pieces of the lore for the happiness of those who are going to look for exactly that, and allowing the rest of us, even if we don’t remember the names, to understand what they are for or to take it as a wink that is not for us at a party we are not invited to.

In a way, A Minecraft movie feels like the tutorial of a game I will never try. I know how to create weapons and buildings, the connection between different worlds, the night that comes around often and is full of dangers, how to face enemies, and, above all, that the limit is your imagination. It is not a masterpiece nor does it aim to be, but as a long advertisement, it works much better than most movies based on products that have been made lately: it is not transgressive like Barbie nor does it stray too far from the original like Until Dawn, but at the same time, it remains a movie for everyone, without the need to have played a game that has been building its own story for 14 years. It is not easy.

What is a chicken jockey!?

Approaching a Minecraft product without ever having played the game sometimes feels like watching Avengers: Endgame without knowing what Marvel is. You have to play with the absurdity of a world where you put materials on a table and weapons are created, where “Chicken jockey” is something to be celebrated (I researched it, and I still don’t understand the fanaticism those words caused) and where characters ask, almost non-stop, what each thing they see means, each concept, each enemy, almost as if they were expecting a “Press A to run.” You have to know what you’re facing, and you can’t judge it like Citizen Kane or Gone with the Wind, but with the severity you would judge a television commercial.

Surprisingly, a Minecraft movie is largely not aimed at the children who grew up with the game, but at the adults who, like Jason Momoa’s character, have fallen behind and need to relearn from scratch. And, in the end, the message that remains is one of the joy of creating, not a series of tasks to fulfill to please the fandom (although, of course, there is some of that). A Minecraft movie is not brilliant, but it is exemplary. At 41 years old, as I hope is understood, it hasn’t made me want to try it, but if there was any child (or parent) on the planet with doubts, they are all gone in an instant: Zombies, pickaxes, wolves, blocks, and chicken jockeys? Of course, yes to all.